116 THE MUSICIAN ABOUT TOWN. 
performers to “slubber” their work, which they take no pains to 
conceal as a labour of duty and remuneration, rather than of love. 
The rehearsals (particularly of the new and the partially known 
symphonies) are both few and not unfrequently hurried. At the 
late Cologne festival, where Handel’s “ Joshua” and a newly-dis- 
covered composition of Sebastian Bach’s were performed, Mendels- 
sohn, the conductor, subjected the whole of the band to as many as 
thirteen rehearsals; and, in consequence, the performers not only 
knew the whole of their music almost by heart, but they had 
become acquainted with their author’s intentions, and were prac- 
tised in all the lights and shades in expression. When that elabo- 
rate work, the choral symphony of Beethoven, was revived last 
year, the Philharmonic band satisfied themselves, we have heard, 
with one rehearsal. From such an acquaintance, what more could 
be anticipated than a creditably correct playing of the mere notes ? 
—a simultaneous union of effect and expression was out of the 
question. Spohr’s “ characteristic symphony” was treated with 
the like parsimonious justice. ‘ They order these matters better 
in France,” as any one may satisfy himself by attending the musical 
re-unions in Paris, and above all by observing the style of accompa- 
nying the voice which actuates the whole orchestra at the “ Acada- 
mie de Musique.” To sum up all—knowledge, youth and energy 
must pervade the Philharmonic directory, or a general demand and 
preparation for incorporating a new society will be heard and set on 
foot. The first note has, indeed, already been struck in the pages 
of The Musical World, where there have appeared some severely vi- 
tuperative articles upon the general mismanagement and inefficien- 
cy of the directory ; andin the number for August 2nd, a correspon- 
dent, signing himself “ An English Artist,” has proposed the incor- 
porating of a new society, to be held in the Italian Opera-house, 
where there will be the advantage of having the Italian singers. 
This, so far, is gocd ; but when the writer grounds the desirable- 
ness of his new society, and the success of his plan, upon the single 
circumstance that it will be a “fashionable reunion,” (which the 
Philharmonic is not), and ‘fascinating to the aristocracy,” from the 
simple circumstance of its being held in Her Majesty’s Theatre, one 
can scarcely forbear a smile of wonder as to what peculiar atmos. 
phere of the profession the “ English Artist” has inhaled, that he 
should, for one moment, entertain the idea that the class of music 
performed at the Philharmonic concerts will “fascinate” our aris- 
tocracy, and thereby render the new society a “ fashionable retni- 
on.” The exclusive selection of modern Italian music would doubt- 
