Ignaz Moscheles’ Morning Concert
London: Concert Room, King’s Theatre—Time: Morning, Two o’Clock
Tickets: 10s. 6d.; Boxes available
✗Programme
| *Aria | Miss Novello | Neukomm | |
| *Aria | Miss Novello | Neukomm | |
| *From Le nozze di Figaro: Air (in German) | Mme Pirscher | Mozart | |
| Part I | |||
| Overture, A Midsummer Night’s Dream | Mendelssohn | ||
| From Così fan tutte: Aria, ‘Per pietà, ben mio perdona’ | Miss Novello | Mozart | |
| Duet | Miss Masson, Mme de Meric | Rossini | |
| Grand Septet for Piano, Violin, Viola, Clarinet, Horn, Violoncello, Double Bass (second time of performance) | Messrs. Moscheles, Mori, Moralt, Willman, Platt, Lindley, Dragonetti | Moscheles | |
| Song, ‘The Stormy Petrel’ (poetry by Barry Cornwall) | Mr. Parry jun.[1] | Neukomm | |
| From Jessonda: Duet | Mlle N. Sontag, Herr Binder | Spohr | |
| From I Capuleti e i Montecchi: Aria, ‘La tremenda ultrice Spada’ | Mlle F. Pixis (first appearance in the country) | Bellini | |
| From Oberon: First Finale | Mme Pirscher, Chorus from the German Opera (King’s Theatre), directed by Mr. Rœckel | Weber | |
| Part II | |||
| Piano Duet Concertante, The Gipsies March Brilliant Variations from Weber’s Preciosa | Messrs. Mendelssohn, Moscheles | Mendelssohn & Moscheles | |
| Cantata with Orchestral Accompaniments, ‘Napoleon’s Midnight Review’ (by particular desire) | Mr. Parry jun. | Neukomm | |
| From Teseo: Air, ‘Morirò, ma vendicata’ | Miss Masson | Handel | |
| Canzonet, ‘Haste, my Nanette’ | Miss Novello, Mr. Parry jun. | Travers | |
| Song with Variations and the Original Swiss words, ‘The Swiss Bride’ | Mlle F. Pixis | Pixis | |
| Free Piano Fantasia, incl. ‘The Ash Grove’, ‘The Rhine, the Rhine’ | Mr. Moscheles | ||
| Principal Vocalists: Mesdames de Meric, Pirscher, Mlles F. Pixis, N. Sontag Miss Masson, Miss Novello, Mme Pircher | |||
| Principal Instrumentalists: Messrs. Dragonetti, Lindley, Mendelssohn, Moralt, Mori, Moscheles, Platt, Willman | |||
| Leader: Mr. Franz Cramer; Conductor: Sir George Smart | |||
[1] The programme advertised Mr. H. Phillips instead as the soloist, yet according to The Morning Post the soloist was Mr. Parry jun.
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Programme Notes: The programme is based on the surviving programme at the British Library. The reviews though mention two more arias by Miss Novello and an air in German by Madame Pirscher from Le nozze di Figaro. Assuming the reviews are correct, some pieces from the programme may have been replaced.
Moscheles: ‘We are now in the middle of April; my annual concert is announced for the 1st of May, and the indispensable novelty (with which alone I can meet my public with a good conscience) has still to be composed. How can I tell whether my fingers will be fit for action, and whether 1 should not act wisely in giving up this concert?’.[1]
RMM, 193.
[1] He was ill at the time.
Charlotte: ‘Mendelssohn came to London; his visit seems to have acted on Moscheles like a panacea, and the joy of seeing Felix once again to have contributed to his recovery, for a few days later, Moscheles, resolving to venture on his concert, the two friends determined to write and play together a piece for two pianos. They agreed on the necessity of a brilliant piece, but were at a loss to select one out of a number of popular subjects. Several were proposed; at last the Gypsy March out of Weber’s Preciosa was chosen. “I will make a variation in minor, which shall growl below in the bass”, exclaimed Felix; “will you do a brilliant one in major in the treble”. And so it was settled that the Introduction as well as the first and second variations should fall to the lot of Mendelssohn, the third and fourth, with the connecting Tutti, to that of Moscheles. “We wished to share in the Finale; so he began with the Allegro movement, which I broke in upon with a più lento”. In two days the music was written, and they went from the Philharmonic at a late hour to Erard’s, to have their first rehearsal’.
RMM, 193.
Moscheles: ‘We found two pianos ready, and our hasty patchwork delighted my wife, our solitary listener. If this midnight pianoforte rehearsal was a hurried affair, the orchestral one on the morning of the 30th of April was still more so; we had only half a band, in consequence of the long rehearsal at the Opera, and only a few over-tired players arrived, and hastily ran through the new piece. In spite of all these obstacles the Concert on the 1st of May was a real success. Not a soul observed that the duet had been merely sketched, and that each of us was allowed to improvise in his own solo, until at certain passages agreed on we met again in due harmony. The scheme which seemed so very hazardous, ended triumphantly, and was received with applause’.
RMM, 193-194.
Advertisements
Playbill
CONCERT ROOM,
KING’S THEATRE.
———————————
Mr. MOSCHELES
Respectfully informs the Nobility, Gentry, and his Friends in general, that his
Morning Concert
WILL TAKE PLACE AT THE ABOVE ROOM ON
WEDNESDAY, MAY 1, 1833.
TO BEGIN AT TWO O’CLOCK PRECISELY.
———————————
The following eminent Performers, both Vocal and Instrumental, have kindly promised their assistance.
Madame DE MERIC Miss MASSON
AND AND
Mlle. FRANCILLA PIXIS Miss CLARA NOVELLO.
(From Paris, her First Appearance in this Country).
Mr. H. PHILLIPS
AND
Mr. PARRY, jun.
WHO WILL SING (BY PARTICULAR DESIRE) THE CELEBRATED CANTATA, ENTITLED
NAPOLEON’S MIDNIGHT REVIEW,
Composed by the Chevalier Neukomm.
———————————
The Principal Singers from the German Opera, King’s Theatre,
Madame PIRSCHER, Mlle. NINA SONTAG,
Herr BINDER,
AND THE WHOLE OF THE
CHORUS SINGERS
Under the direction of M. RŒKEL, will join in the performance of the
FIRST FINALE OF WEBER’S OBERON.
———————————
In the course of the Concert will be performed Mendelssohn’s celebrated Overture to
SHAKSPEARE’S MIDSUMMER-NIGHT’S DREAM.
Mr. MOSCHELES
WILL PLAY
(By special Permission of the Directors of the Philharmonic Society)
A NEW MS. SEPTETTO,
Composed expressly for and performed at their Concerts,
WITH
Messrs. MORI, MORALT, WILLMAN, PLATT, LINDLEY,
and DRAGONETTI;
THE GIPSIES’ MARCH,
WITH
Concertante Variations for Two Pianofortes and Orchestral Accomp.
Composed expressly for this occasion, and performed with
Mr. MENDELSSOHN-BARTHOLDY;
AND
An Extemporaneous Performance
On the Pianoforte, on which Occasion, Mr. MOSCHELES requests any of the Company to give him a written Theme to perform on.
[line]
The Band will be numerous and composed of the first-rate Performers.
Principal Violoncello, Mr. LINDLEY.
Principal Double Bass, Signor DRAGONETTI.
Leader, Mr. F. CRAMER.
Conductor, Sir GEORGE SMART.
Tickets, 10s. each, to be had of Mr, MOSCHELES, No. 3, Chester Place, Regent’s Park; at the
Box Office, King’s Theatre; and at the principal Music Shops.
*** An early Application for Boxes is requested to be made to Mr. MOSCHELES.
[For [sic] the Scheme of the Concert see the other side
[GB-Lbl Playbills 320 v.]
Great Concert Room, King’s Theatre
Scheme
OF
Mr. MOSCHELES’
MORNING CONCERT,
WEDNESDAY NEXT, MAY the 1st, 1833.
[line]
PART I.
| Overture to SHAKESPEARE’S Midsummer Night’s Dream. – F. Mendelssohn Bartholdy. |
| Air, Miss CLARA NOVELLO, “Per pietà.” (As sung at the Philharmonic Concerts.) Mozart. |
| Duetto, Madame De MERIC and Miss MASSON. – – – Rossini. |
| A new (MS.) Septetto, (second time of performance,) as composed expressly for |
| and performed at the Philharmonic Concert, Messrs. MOSCHELES, MORI, |
| MORALT, WILLMAN, PLATT, LINDLEY, and DRAGONETTI. Moscheles. |
| Song, Mr. H. PHILLIPS, “The Stormy Petrel.” The Poetry by Barry Cornwall. Neukomm. |
| Duet, Mlle. NINA SONTAG & Herr BINDER (from the German Opera). (Jessonda.) Spohr. |
| Aria, Mlle. FRANCIALLA PIXIS (her first appearance in this country), |
| “La tremenda ultrice Spada.” – (I Capuletti ed I Montecchi) – Bellini. |
| First Finale of Oberon (in German), Madame PIRSCHER, and the CHORUS SINGERS |
| from the German Opera, King’s Theatre, under the direction of Mr. RŒEKEL. Weber. |
PART II.
| The Gipsies’ March, with Concertante Variations, for two Pianofortes, Mr. MOSCHELES |
| and Mr. MENDELSSOHN BARTHOLDY, and Orchestral Accompaniments; |
| composed expressly for this occasion. – Moscheles and Mendelssohn Bartholdy. |
| (By particular desire) Napoleon’s Midnight Review, a Cantata, with Orchestral |
| Accompaniments, Mr. PARRY, Jun. – – – – Neukomm. |
| Air, Miss MASSON, (as sung at the Philharmonic Concerts, “Moriro.” (Teseo.) Handel. |
| Canzonet, Miss C. NOVELLO and Mr. PARRY, Jun. “Haste, my Nanette.” – Travers. |
| Song, Mlle. FRANCILLA PIXIS, “The Swiss Bride,” with Variations, and the |
| original Swiss words. – – – – – – – Pixis. |
| AN EXTEMPORANEOUS PERFORMANCE on the Pianoforte by Mr. MOSCHELES, |
| on which occasion he requests any of the Company to give him a written Theme to |
| perform on. |
THE CONCERT WILL BEGIN AT TWO O’CLOCK PRECISELY.
The Morning Post (March 23, 1833): 1.
GREAT CONCERT ROOM, KING’S THEATRE.—Mr. MOSCHELES respectfully informs the Nobility, Gentry, and his Friends in general, that his MORNING CONCERT will take place at the above Room on WEDNESDAY, May 1, when he will perform some of his latest Compositions. Further particulars will be shortly announced.
The Atlas (March 24, 1833): 184.
GREAT CONCERT ROOM, KING’S THEATRE.
MR. MOSCHELES respectfully informs the Nobility, Gentry, and his Friends in general, that his MORNING CONCERT will take place at the above Room on Wednesday, May 1, 1833, when he will perform some of his latest compositions. Further particulars will be shortly announced.
The Courier (April 4, 1833): 1.
KING’S CONCERT ROOM, KING’S THEATRE.—Mr. MOSCHELES respectfully informs the Nobility, Gentry, and his Friends in general, that his MORNING CONCERT will take place at the above Room on Wednesday, May 1st, when he will have the assistance of the most eminent Performers, both Vocal and Instrumental, whose names will be shortly announced.
The Court Journal: Gazette of the Fashionable World, vol. 5, (April 6, 1833): 240.
KING’S CONCERT ROOM, King’s Theatre.—Mr. MOSCHELES respectfully informs the Nobility, Gentry, and his Friends in general, that his MORNING CONCERT will take place at the above Room on WEDNESDAY, May 1, when he will have the assistance of the most eminent Performers, both Vocal and Instrumental, whose names will be shortly announced.
The Morning Post (April 6, 1833): 1.
KING’S CONCERT ROOM, King’s Theatre.—Mr. MOSCHELES respectfully informs the Nobility, Gentry, and his Friends in general, that his MORNING CONCERT will take place at the above room on WEDNESDAY, May 1st, when he will have the assistance of the most eminent performers, both Vocal and Instrumental, whose names will be shortly announced.
The Atlas (April 7, 1833): 216.
GREAT CONCERT ROOM, KING’S THEATRE.
MR. MOSCHELES respectfully informs the Nobility, Gentry, and his Friends in general, that his MORNING CONCERT will take place at the above Room on Wednesday, May 1st, when he will have the assistance of the most eminent Performers, both Vocal and Instrumental, whose names will be shortly announced.
John Bull (April 7, 1833): 105.
GREAT CONCERT ROOM, KING’S THEATRE.
MR. MOSCHELES respectfully informs the Nobility, Gentry, and his Friends in general, that his MORNING CONCERT will take place at the above Room on WEDNESDAY, May 1st, when he will have the assistance of the most eminent Performers, both Vocal and Instrumental, whose names will be shortly announced.
The Courier (April 12, 1833): 1.
KING’S CONCERT ROOM, KING’S THEATRE.—Mr. MOSCHELES respectfully informs the Nobility, Gentry, and his Friends in general, that his MORNING CONCERT will take place at the above Room on Wednesday, the 1st of May, 1833, when he will have the assistance of the most eminent Performers, both vocal and instrumental, whose names will appear in the bills in the course of a few days.
The Globe and Traveller (April 13, 1833): 1.
KING’S CONCERT ROOM, KING’S THEATRE.
MR. MOSCHELES respectfully informs the Nobility, Gentry, and his Friends in general, that his MORNING CONCERT will take place at the above Rooms on WEDNESDAY, 1st of May, 1833, when he will have the assistance of the most eminent Performers, both Vocal and Instrumental, whose names will appear in the bills in the course of a few days.
The Morning Post (April 13, 1833): 1.
KING’S CONCERT ROOM, King’s Theatre.—Mr. MOSCHELES respectfully informs the Nobility, Gentry, and his Friends in general, that his MORNING CONCERT will take place at the above Room on WEDNESDAY, May 1, when he will have the assistance of the most eminent Performers, both Vocal and Instrumental, whose names will appear in the bills in the course of a few days.
The Atlas (April 14, 1833): 232.
GREAT CONCERT ROOM, KING’S THEATRE.
MR. MOSCHELES respectfully informs the Nobility, Gentry, and his Friends in general, that his MORNING CONCERT will take place at the above Rooms, on Wednesday, 1st of May, when he will have the assistance of the most eminent Performers, both Vocal and Instrumental, whose names will appear in the bills in the course of a few days.
The Examiner (April 14, 1833): 240.
KING’S CONCERT ROOM, KING’S THEATRE.
MR. MOSCHELES respectfully informs the Nobility, Gentry, and his Friends in general, that his MORNING CONCERT will take place at the above Rooms, on Wednesday, the 1st of May, 1833, when he will have the assistance of the most eminent Performers, both Vocal and Instrumental, whose names will appear in the Bills in the course of a few days.
The Globe and Traveller (April 20, 1833): 1.
GREAT CONCERT ROOM, KING’S THEATRE.
MR. MOSCHELES respectfully informs the Nobility, Gentry, and his Friends in general, that his MORNING CONCERT will take place at the above Room on WEDNESDAY, 1st of May, when he will perform his new MS. SEPTETTO as performed at the last Philharmonic Concert, a CONCERTO for two Pianofortes with Mr. Mendelssohn Bartholdy; and an Extemporaneous Fantasia.
Further particulars are announced in the Bills.
The Morning Post (April 22, 1833): 1.
GREAT CONCERT ROOM, KING’S THEATRE.—Mr. MOSCHELES respectfully informs the Nobility, Gentry, and his Friends in general, that his MORNING CONCERT will take place at the above Room on WEDNESDAY, May 1, when he will perform his new (MS.) SEPTETTO, as performed at the last Philharmonic Concert; a CONCERTO for two Pianofortes with Mr. Mendelssohn Bartholdy; and an EXTEMPORANEOUS FANTASIA. Further particulars are announced in the bills.
The Court Journal: Gazette of the Fashionable World, vol. 5, (April 27, 1833): 296.
GREAT CONCERT ROOM, KING’S THEATRE.
MR MOSCHELES has the honour to announce, that his MORNING CONCERT will take place on WEDNESDAY NEXT, May 1, when he will play his new MS. Septetto, as written for and performed at the Philharmonic Concerts; a Concerto for two Pianofortes, with Mr Mendelssohn Bartholdy; and an Extemporaneous Fantasia. The most eminent Vocal Performers, English, Italian, and German, have kindly promised their assistance.—Leader, Mr F. Cramer. Conductor, Sir. G. Smart.
Tickets, 10s. 6d. each, to be had of Mr Moscheles, 3 Chester place, Regent’s park; and at all the principal Music-shops.—Full particulars are announced in the bills.
The Morning Post (April 27, 1833): 1.
GREAT CONCERT ROOM, KING’S THEATRE.—Mr. MOSCHELES has the honour to announce that his MORNING CONCERT will take place on WEDNESDAY next, May 1, when he will play his new (MS.) SEPTETTO, as written for and performed at the Philharmonic Concert; a CONCERTO for two Pianofortes with Mr. Mendelssohn Bartholdy; and an EXTEMPORANEOUS FANTASIA. The most eminent Vocal Performers, English, Italian, and German, have kindly promised their assistance. Leader, Mr. F. Cramer; Conductor, Sir. G. Smart. Tickets, 10s. 6d. each, to be had of Mr. Moscheles, 3, Chester-place, Regent’s Park; and at all the principal Music Shops. Full particulars are announced in the bills in the bills.
John Bull (April 28, 1833): 129.
GREAT CONCERT ROOM, KING’S THEATRE.—
MR. MOSCHELES has the honour to announce that his MORNING CONCERT will take place on WEDNESDAY next, May 1st, when he will play his new MS. SEPTETTO, as written for and performed at the Philharmonic Concerts; a Concerto for two Pianofortes with Mr. Mendelssohn Bartholdy; and an Extemporaneous Fantasia. The most eminent Vocal Performers, English, Italian, and German, have kindly promised their assistance.—Leader, Mr. F. Cramer; Conductor, Sir. G. Smart.—Tickets, 10s. 6d. each, to be had of Mr. Moscheles, 3, Chester-place, Regent’s-park, and at all the principal Music Shops. Full particulars are announced in the bills in the bills.
The Morning Post (April 29, 1833): 1.
MENDELSSOHN’S first performance this season will be at his friend MOSCHELES’S Concert on Wednesday morning, when he will take part in a duet for two pianofortes, composed expressly for the occasion by the Adelphi. The masterly septetto composed for the Philharmonic Society, and performed with such deserved success at the last Concert, will be repeated by the author, MOSCHELES, MORI, MORALT, WILLMANM, PLATT, LINDLEY, and DRAGONETTI.
The Morning Post (April 30, 1833): 1.
GREAT CONCERT ROOM, KING’S THEATRE.—Mr. MOSCHELES has the honour to announce that his MORNING CONCERT will take place TO-MORROW, Wednesday, May 1, when he will play his new (MS.) SEPTETTO, as written for and performed at the Philharmonic Concert. The GIPSIES MARCH, with Concertante Variations for two Pianofortes composed expressly for the occasion by Messrs. Mendelssohn and Moscheles, and performed by the Authors; and an Extemporaneous Fantasia by Mr. Moscheles. Full particulars are announced in the bills.
The Times (April 30, 1833): 1.
GREAT CONCERT ROOM, King’s Theatre.—Mr. MOSCHELES has the honour to announce, that his MORNING CONCERT will take place To-morrow, Wednesday, May 1, when he will play his new (MS.) Septetto, as written for and performed at the Philharmonic Concert.: the Gypsies’ March, with concertante variations for two pianofortes, composed expressly for the occasion by Messrs. Mendelssohn and Moscheles, and performed by the authors; and an Extemporaneous Fantasia by Mr. Moscheles. The most eminent vocal performers, English, Italian, and German, have kindly promised their assistance. Full particulars are announced in the bills.
Reviews
The Morning Post (May 2, 1833): 3.
MR. MOSCHELES’ CONCERT.
This eminent artist’s Concert, yesterday morning, was extremely well attended. The performance commenced with MENDELSSOHN’S characteristic overture to the Midsummer Night’s Dream. Miss CLARA NOVELLO sang the Per Pieta of MOZART, and Haste, my Nannette, with PARRY, jun.; and two masterly compositions by NEUKOMM, The Stormy Petrel and Napoleon’s Midnight Review, were sung with great success by Mr. PARRY, jun. Mdlle. F. PIXIS sang an Aria by BELLINI, and a Swiss song with variations, in a very superior style; and Madame de MERIC, Miss MASSON, NINA SONTAG, Madame PIRSCHER, and Herr BINDER contributed most successfully towards the vocal treat. The new Septetto, of which we have already spoken in terms of unqualified praise, was admirably performed by the composer MOSCHELES, MORI, MORALT, WILLMAN, PLATT, LINDLEY, and MOSCHELES; but what created the greatest interest was a duet on two of ERARD’S grand pianofortes by MOSCHELES and his friend MENDELSSOHN, composed expressly for the occasion by them. The subject was WEBER’S Gypsies’ March, which was treated in the most profound and effective manner by each, and executed so brilliantly that the most rapturous plaudits were elicited from the delighted company. This very excellent Concert concluded with an extemporaneous performance on the pianoforte by MOSCHELES. Sir GEORGE SMART, the conductor, requested a thema from the company, when three or four were handed to him, out of which Mr. MOSCHELES selected The Ash Grove (the Welsh melody sung by Miss KELLY in her entertainment) and The Rhine, the Rhine, a German song, both of which he introduced in a masterly manner, and his performance was altogether of the most splendid kind, and universally applauded.
The Athenæum (May 4, 1833): 284.
Concerts.—The number of benefit and other Concerts will be unusually great this season—Moscheles has taken the lead, and, considering the musical talent engaged at other places, we think he had a strong muster on Wednesday last—a duet on the pianoforte, composed and performed by himself and Mendlessohn [sic], was a great treat.
The Athenæum (June 1, 1833): 346.
Never perhaps were so many benefit concerts given in a whole season as have taken place in London during the present month. This is a grievous nuisance that must be abated. On the continent, no artist, but of great fame and high talent, presumes to make such a personal appeal to the musical public; but in London every miserable pianist, flutist, guitarist, singing master, and singing-mistress, put forth their claims and pretensions, and, by trick and manoeuvre, contrive to pocket large sums, while men of genius and of honour are left without support. Will it be believed that the two least profitable concerts this season have been given by Hummel and Moscheles, who, in addition to their superior performances, produced for the occasion MS. compositions of high merit!
The Harmonicon, vol.11, (June 1833): 155.
MR. MOSCHELES’,
Opera Concert Room, Wednesday Morning, May 1.
M. Moscheles gave the septetto written for the Philharmonic Society, with exceedingly good effect. He also, with M. Mendelssohn, played Weber’s Gipsies’ March with concertante variations, as a duet for two piano-fortes, which excited the most lively interest—these two highly distinguished musicians having each contributed his share of variations, and, in friendly conflict, put forth all their powers in the performance of them. Their cadences were of the most masterly kind, and excited the admiration of a crowded room, in which were most of the connoisseurs in town. Miss Francilla Pixis made her first appearance in Loudon, in a feeble air by Bellini. Her voice is a mezzo soprano, and as she had but recently recovered from an indisposition, her performance is hardly a fair subject for criticism. Mad. Pircher sang an air from Figaro, in German, not in the best manner. Indeed it was injudicious to give it in a translation. But the strength of the concert consisted in the instrumental part; this also included Mendelssohn’s fine poetical overture to A Midsummer Night’s Dream, and a clever extemporaneous performance by M. Moscheles.
The Athenæum (July 6, 1833): 443.
THE CONCERTS OF THE SEASON.
….
In the first class, is the artist whose reputation as a player, or composer, or both, is sufficiently established to secure him a full attendance, on the mere announcement of his performance. Such only are the individuals who, on the continent, find their talent a profitable passport from city to city. On these occasions, the orchestra is always efficient, and able to do justice to some new composition, which is generally produced— the programme is good, and a proof of sound musical judgment; and, in compliment to the acknowledged talent of the artist, he is willingly assisted by eminent vocalists, and the concert gives great satisfaction. Of this class, were the concerts given by Hummel, Moscheles, Cramer, Herz, De Beriot, Nicholson, Potter, Bochsa, &c.
Ignaz Moscheles' Concert Life 