Gluck, Beethoven, Mozart, and Mendelssohn. The newly-created
association proclaim that their mission is to look after aspirants, as
well as to honour the veterans of the art; and accordingly they bring
forward many compositions experimentally--a meritorious policy, but
one not without its dangers. Few unprofessional people are aware of
the cost of producing elaborate compositions. When _William Tell_ was
played some years ago at Drury Lane--to mention one single item--the
price of copying the parts from the full score, at 3d. a page, came to
L.350. All the old music is of course to be had printed; and to these
standard scores the steady-going Philharmonic principally devotes
itself. Each performance consists in general of two symphonies, or a
symphony and an elaborate concerto, each occupying at least
three-quarters of an hour, with two overtures, and solos, vocal and
instrumental--the former generally sung by performers from either
Opera, but usually from Covent Garden. M. Costa wields the baton at
Hanover Square as at Exeter Hall; and under his management, the band
have attained a magnificent precision and _ensemble_ of effect. Its
musical peculiarity over ordinary orchestras is the vast strength of
stringed instruments, which gives a peculiar _verve_ and light vigour
to the performances. The rush of the violins in a rapid passage is
overwhelming in its impetuosity and vigour, and is said, of late years
especially, to beat the 'attack,' as it is technically called, of any
of the continental Philharmonic Societies. The Philharmonic concerts
are very fashionable. It is good taste, socially and artistically, to
be present; and, consequently, the room is always crowded by an
assemblage who display most of the characteristics of an Opera
audience. The musical notabilities of town always muster in full force
at the Philharmonic. Composers, executants, critics, amateurs, and
connoisseurs, are all there, watching with the greatest care the
execution of those famous works, the great effect of which can only be