WeGA, Rezeptionsdokumente, Digitale Edition
author: anonym
source date: 8. April 1826
language: en
availability: Creative Commons Attribution 4.0 International (CC BY 4.0) (http://creativecommons.org/licenses/by/4.0/)

In the third Philharmonic Concert, given on Monday last, under direction of Mr. Kiesewetter as leader, and Mr. Weber as conductor, the subscribers had the advantage of hearing some of the best compositions of the latter performed in a very superior style. His high satisfaction with the orchestra was so apparent, that we question if the Dresden band, though of his own training, would have expressed his conceptions with more precision and vigour than he witnessed on this occasion, when his two overtures to Der Freischütz and Eurianthe were admirably performed.

Another of A. Romberg’s Grand Symphonies being played here so soon after the first, is a proof of the estimation in which this composer is held; and we advise the directors to add it to the small stock of symphonies which are regulary given every season. The vocal pieces from the Freischütz , Don Giovanni, &c., though well given by Mde. Caradori, Phillips, and Sapio, did not make very prominent features in the concert. Weber’s scene LaDolce Speranza is a new production, but not highly distinguished for novelty of conception. Mr. Schuncke’s concerto on the Piano-forte, as a first appearance, was looked for with rather more than ordinary curiosity. The bill did not state what he was going to play, but he actually performed three entirely unconnected concert pieces: the first movement of Ries’s Concert in C sharp minor [Konzert für Klavier und Orchester Nr. 3 cis-Moll op. 55.]; the second movement of Beethoven’s Concert in C [Konzert für Klavier und Orchester Nr. 1 C-Dur op. 15.]; and lastly, the Hungarian Rondo, by Pixis. His execution, clearness, and ornamental brilliancy, certainly entitle him to the name of a first-rate pianist, worthy of so great a master as Hummel, whose tuition he has had for a considerable period. He is a young man, and has plenty of time before him to learn to play an adagio as well as he does an allegro. His cadence preceding the Hungarian Rondo, astonishingly difficault, to be sure, was a perfect hocus pocus, calculated to exite rather ridicule than delight. If Mr. Schuncke be edowed with no more than the usual portion of vanity natural to musicians, he must have been completely satisfied with the very liberal applause he received from the audience.