Philip Cipriani Hambly Potter (1792-1871) - Symphony in g, (1832)

★ Follow music ► Composer: Philip Cipriani Hambly Potter (1792-1871) Work: Symphony in g, (1832) Performers: MiIton Kеynеs Chamber Orchestra; HiIary Dаvаn Wеtton (conductor) Symphony in g, (1832) 1. Allegro con fuoco 0:00 2. Andante con moto 8:23 3. Scherzo vivace 16:56 4. Allegro assai 21:03 Painting: Thomas Luny (1759-1837) - The Port of London Image in high resolution: Painting: Henry Dawson (1811-1878) - London from Greenwich Hill Image in high resolution: Painting: Thomas Allom (1804-1872) - View of London from the steeple of St Bride’s Church Image in high resolution: Painting: Joseph Mallord William Turner (1775-1851) - Caligula’s Palace and Bridge Image in high resolution: Further info: Listen free: --- (Philip) Cipriani (Hambly) [Hambley] Potter (London, 3 October 1792 - London, 26 September 1871) English composer, pianist and teacher, son of Richard Huddleston Potter (1755-1821) and the most celebrated member of the family. Cipriani was the family name of his godmother, who was said to have been a sister of the painter Giovanni Baptista Cipriani, himself an intimate member of musical circles through his friendship with J.C. Bach and C.F. Abel. The name Philip was taken from a son of the painter, Edward Robert Philip Cipriani, a clerk in the Treasury through the support of Lord Lansdowne. ‘Cip’ or ‘Little Chip’, as he was known throughout his life because of his small size, was widely read, was a mathematician and spoke four languages. After musical instruction from his father, he was given over to a series of distinguished masters, and first studied counterpoint with Thomas Attwood. He worked with Crotch in 1808-9 and may have had lessons with John Wall Callcott. Potter, however, attributed his greatest advances to a five-year period of lessons from May 1805 with Joseph Woelfl. On attaining his majority he was named an associate of the Philharmonic Society, and he became a member on 29 May 1815. Potter made his début as a pianist at the Philharmonic Concerts at the performance of his Sextet for piano, flute and strings on 29 April 1816. Despite acclaim as a pianist, the lack of success of the commissioned works caused Potter to go to the Continent to study composition. He left England towards the end of 1817 and was drawn to Vienna by the presence of Beethoven, whose music he had admired despite discouragement from it by his elders. Although he carried letters of introduction, warnings that Beethoven was mad caused Potter to delay approaching him until urged to do so by the piano maker Streicher. Potter was well received at what was an especially troubled time for Beethoven, and he made a good impression which Beethoven conveyed to Ries in a letter of 5 May 1818: ‘Botter [sic] has visited me a few times, he seems to be a good fellow and has talent for composition’. At Beethoven’s suggestion Potter studied counterpoint with Aloys Förster, and Beethoven advised Potter on his scores. After about eight months in Vienna and other Austrian and German cities and a sojourn of similar length in Italy, Potter returned to England in the spring of 1819. From that time until 1836 he appeared often as a soloist, giving the English premières of many Mozart concertos, in which he embellished the printed solo part, and of the First, Third and Fourth Concertos by Beethoven. His piano playing was much admired for its brilliance. He appeared as a conductor of the Philharmonic Concerts until 1844 and won considerable acclaim, always conducting standing, and without a baton. He served as a director of the society a number of times, though it was said that his opinions were often passed over in favour of those of less knowledgeable men. Potter’s own concerts, given almost yearly between 1828 and 1846, were among the finest of the season because of his insistence on a ‘full band’ when others would skimp, and the substantial music played. In the later concerts Potter included only a single work of his own, perhaps evidence of a lessening interest in his own music. He was elected to the Royal Society of Musicians in 1817, and served several times as an officer and as accompanist or conductor. He was also a member of the Society of British Musicians from its founding in 1834, and its concerts included performances of his compositions. He was a member of the Bach Society from its inception in 1849 and served as musical director of the Madrigal Society from July 1854 until his death.