11 November 1825

Subscription Concert


Manchester: Concert Room


*Comic Song, ‘C’en est égal’Mme Caradori-Allan 
*DuetMme Caradori-Allan, Mr. Phillips 
*Italian SongMme Caradori-Allan 
*Song, ‘Should he upbraid’Mme Caradori-AllanBishop
*Recit. and Air, ‘The Temptest’Mr. PhillipsHorsley
*Air, ‘When forc’d from dear Hebe to go’Mr. PhillipsArne
Part I  
Overture, Der Freischütz Weber
Recit. and AirMr. PhillipsDr. Carnaby
* Piano ConcertoMr. MoschelesMoscheles
Part II  
Violin ConcertoMr. Mori 
Free Piano FantasiaMr. Moscheles 
Principal Vocalists: Mme Caradori-Allan; Mr. Phillips  
Principal Instrumentalists: Messrs. Mori, Moscheles
Leader: Mr. Nicolas Mori


Encore: Comic Song, ‘C’en est égal’—Mme Caradori-Allan

Moscheles: The better composition of the orchestra, directed by Mr. Cadmore, the general management of the concert directors, Baker and Fletcher, and the cooperation of several clever German amateurs, gave a new zest to my performance, and I was rapturously applauded. I could not, however, enjoy this fully, as I was anxious to get home. [1] [RMM, 75.]

[1] Charlotte was pregnant with their first child.

Letter: I. Moscheles to Charlotte Moscheles.

Manchester, 12 November 1825

Vollkomen befriedigen ist wieder der gestrige Abend überstanden; ehe ich die Details darüber mittheile will ich dir auch von dem vorhergegangenen berichten. Gestern morgens übte ich recht fleissig, dann wurde (gegen 11 Uhr) das Instrument im Saal zur Probe getragen. Dort fand ich ein respektables Orchester grösstentheils von Liebhabern besetzt, versammelt; unter diesen waren Mr. Lomnitz, Leo, Mr. Willert, Bernheim, Magnus, Mr. Beale (Vater.) Die Directoren Mr. Fletcher u. Bäker (ein Deutcher) empfingen mich höchst schmeichelhaft. Das bessere Zusammenwirken gab meinem Spiel ungewöhnliche Begeisterung. Ich probirte das 1te St. Des Esdur Conc: u. die Alex. Var. mit complettem Orchester.—Nach der Probe speiste ich beg Leo der mit einem Freunde H: Bernheim zusammen wohnt, Kiesewetter und Magnus (ein junger Schwede) waren von der Gesellschaft. Zur Toilette hatte ich nicht viel Zeit zu verwenden weil die Concerte hier um 7 Uhr anfangen.—Wahrhaft glänzend war der Saal besetzt. Die Our: aus d. Freyschütz eröffnete das Concert, hierauf sang Mr. Phillips, u. weil Mad. Caradori wegen anhaltenden Uebelbefinden noch nicht da war, spielte ich. Empfang u. Aufnahme waren warm und laut. Eine ganz ungewöhnliche gespannte Aufmerksamkeit erhöhte meinem Eifer, u. das Orchester führte sich reicht brav auf. Will Beale drehte mir das Blatt um.

Endlich kam Mad. ù derselbe michstiche Fall begegnete ihn wieder wie in Liverpool, mit dem Leider traurigen Unterschiede, dass sie vom Orchester weggebracht werden musste. Sie erholte sich aber so geschwind, dass sie im 2te Akt mit voller Stimme sang u. kein einziges ihrer Stucke ausliess. Sogar die Romance: cela m’est egale accompagnirte sie sich*. Meine Fantasie erwarb mir rauschenden Beyfall; ich nahm non piu andrai, u. wieder dasselbe schottische Liedchen….welches ich in Chester hatte…

Viele wünschen dass ich mit Kiesewetter auf meine Rückreise hir ein Concert gebe, es zustande kommen kann, weiss ich dir jetzt noch nicht zu sagen.

*Mori spielte auch recht brav, obwohl er sich fürchtete Kiesewetter nahe am Orchester zu sehen.



The Manchester Courier and Lancashire General Advertiser (November 5, 1825): 1.

CONCERT ROOM, Nov. 2, 1825.

THE DIRECTORS inform the SUBSCRIBERS, that the NEXT CONCERT is fixed for FRIDAY the 11th of November.






The Manchester Mercury (November 8, 1825): 1.


NOVEMBER 2d, 1825.

THE DIRECTORS inform the SUBSCRIBERS, that the NEXT CONCERT is fixed for Friday the 11th November.—Principal Performers:





The Manchester Courier and Lancashire General Advertiser (November 19, 1825): 3.


The Concert of Friday the 11th terminated at too late an hour for our giving a notice of it in our last paper.

The performers engaged for the evening were Madame Caradori, Mr. Mori, Mr. Phillips, and Mr. Mochelles [sic].

Mr. Phillips sang with his usualability [sic], and in “Horsley’s Tempest,” exceeded our expectations. He gave Arne’s Ballad, “When forced from dear Hebe to go,” with very good effect and in his singing generally, of lighter airs, we think there is a marked improvement, whilst in bass songs of power he is less effective. Indeed, his lower tones are not by any means equal in fullness and body to those of the upper part of his compass, and he best succeeds in such songs as approach more to tenor than bass.

Madame Caradori was so seriously indisposed as to be obliged to stop, and he assisted out of the orchestra, at the commencement of her first song; and although she again came forward in the second part, we could not but feel that her exertions were too much for her strength. Her English songs, however, were given with so much taste and feeling as to call forth marked approbation. Indeed, his lady, independent of her great ability as a singer, (and few deserve to rank higher), is so greatly esteemed for her amiable manners that she is secure of the general admiration and regard of her audience. Knowing how well it is deserved we cannot resist the inducement to copy the following extract from a recently published memoir of this lady :—“ It is alike honourable to both countries, that the Italian stage should in the person of Madame Caradori Allan, boast so fair an example of the most unsullied morals, and the sweetest manners, whilst the English theatre has its head a female like Miss Stephens, who in the midst of the incense of a nation’s praises, retains a purity of manners that would adorn any condition.”

Mr. Mori was, as usual, very well received, and we think produced more of fullness and richness of tone from his instrument than we ever heard from him, or perhaps from any other performer; but we have been better pleased with some of his former pieces than that selected for this evening.

We have purposely deferred the notice of Mr. Mochelles’s [sic] piano-forte playing till the last, both because of its being his first public performance in Manchester, and because we feel the difficulty of doing justice to his super-eminent merit.

The clearness, rapidity, and brilliancy of his execution are of the very first order, and prove him to possess powers, both natural and acquired, of an extraordinary kind; whilst the solidity and richness of his scientific acquirements, joined to the most exquisite taste and expression, peculiarly fit him for extemporaneous performances. To those who heard his “Extempore Fantasia,” we would instance in proof the coherence and connexion of every variation (in almost every position and style), he gave of the airs introduced. Not a note was heard but what was felt to be in harmony with the subject, and to be the result of the combination of all the principles and powers which form the great artist. This Fantasia called forth a universal expression of approbation and delight, of the most ardent kind, from the audience; and the gentlemen of the orchestra partook largely of the general enthusiasm.

The directors themselves must have been highly gratified in having thus been the means of affording to the subscribers so rich a treat, and which was so generally and fully appreciated.

The Manchester Guardian (November 19, 1825): 3.

GENTLEMEN’S CONCERT.—The directors of this institution engaged Mr Mori, Madame Caradori, Mr. Phillips, and Mr. Moschelles, for a concert yesterday week.—The performances commenced with the overture to ‘Der Freischutz.” It was given with the precision and spirit for which this orchestra is so justly celebrated. Mr. Phillips then sung a “Recitative and Air” of Dr. Carnaby, which was nothing extraordinary, either with respect to composition or execution.—Madame Caradori was so scriously [sic] indisposed that, in the middle of the first song she attempted, she sunk down exhausted, and was supported out of the room. During the evening, however, she recovered sufficiently to take part in a duet with Mr. Phillips, and to sing “Should he upbraid,” in her usual beautiful style. She also got through (in a very able manner) the Italian song, in which she had previously failed. And as if to make further amends for the temporary disappointment of the audience, she voluteered [sic] a pretty little French comic-song, “C’en est égal,” which was executed with remarkable naiveté and archness. It was loudly applauded and encored.—Mr. Phillips was very effective in the “Tempest.” The words of the latter verse of the air are very pathetic, and the appropriate music was feelingly given in Mr. Phillips’s best manner. He again repeated the ballad which gave so much satisfaction at his last visit. “When forced from dear Hebe to go.”—We are glad to see revived some of the beautiful ballads of the last century; and from the favourable reception “Dear Hebe” has met with, we are induced to hope that the caterers for the musical public will make a further rummage. Mr. Phillips appears to have recently taken great pains with the upper part of his voice. It was remarkable on this occasion for a peculiarly rich and clear quality of tone, and the management of it was most judicious.—The marvel of the evening was Mr. Moschelles. His execution on the piano-forte is assuredly wonderful. In the “Concerto” in the first part (which, by the way, was a fine piece of music, and extremely well accompanied), he displayed an amazing command over the keys, to such a degree, as almost to induce the belief, at times, that more than one pair of hands were engaged on the instrument. His “Extempore Fantasia” in the second part, excited great attention. Amids’ the labyrinths of his extemporaneous harmony, Mr. Moschelles introduced, occasionally, some well-known airs, with variations, with which the audience were highly delighted. His touch is strong yet delicate, his accentuation very marked, and there is a distinctness in his most rapid passages which, even among first-rate players, is rarely to be found, His execution of octaves (from its rapidity) is probably unequalled.—The skill of  Mr. Mori on the violin is so well known, and so highly appreciated in Manchester, that our praise would be superfluous. His concerto, which opened the second act, fully confirmed the Impression made by his former exertions.—The room was well filled; almost crowded