Mrs. Eliza Salmon’s Concert
London: New Argyll Rooms—Time: Evening, Half Past Eight o’Clock
Tickets: 10s. 6d., Boxes available
|Air with variations|
‘The last rose of summer’
|Mrs. Salmon; Harp Obbligato: Mr. Bochsa||Bochsa|
|From La clemenza di Tito |
Duet, ‘Ah, perdona al primo affetto’
|Mrs. Salmon, Signora Camporese||Mozart|
|Cantata, Alexia||Mr. Vaughan||Pepusch|
|Duet||Signora de Begnis, Signor de Begnis|
|Piano Duet||Messrs. J. B. Cramer, Moscheles||J. B. Cramer & Moscheles|
|From Judas Maccabæus|
Air, ‘From mighty Kings’
|Harp Obbligato Fantasia||Mr. Bochsa|
|Glee for four voices |
‘Oh Nanny, wilt thou gang with me’
|Mrs. Salmon, [?], [?], [?]||Carter and Harrison|
|From Il Turco in Italia |
Quintet, ‘Oh! guardate che accidente’
|Signora de Begnis, [?], [?], [?], [?]||Rossini|
|Violin Concerto||Mr. Kiesewetter|
|Principal Vocalists: Signora Camporese, Signora de Begnis, Mrs. Salmon, Miss Stephens; Messrs. Begrez, Sale, Vaughan, W. Knyvett, Signors de Begnis and Placci|
|Principal Instrumentalists: Messrs. Bochsa, Cramer, Moscheles, Kiesewetter|
|Leader: Mr. Franz Cramer, Conductor: Sir George Smart|
Programme Notes: The piano duet performed by J. B. Cramer and Moscheles is the same as the one performed on May 9.
The Quarterly Musical Magazine and Review, vol. IV (May 1822): 257.
17. Mrs. Salmon’s Concert-Argyll Rooms.
The Morning Post (May 13, 1822): 1.
MRS. SALMON’S CONCERT, New Argyll Rooms.—Mrs. SALMON has the honour to announce, that her CONCERT will take place at the above Rooms on FRIDAY next, May 17, under the immediate Patronage of their Royal Highnesses the Duke and Duchess of Clarence. Principal Vocal Performers: Madame Camporese, Madame Ronzi de Begnis, Mrs. Salmon, and Miss Stephens; Mr. Vaughan, Mr. Begrez, Mr. W. Knyvett, Mr. Sale, Signor Placci, and Signor de Begnis. In the course of the Concert (for this occasion only), the Duet for two Grand Pianofortes, Mr. Cramer and Mr. Moschelles, as performed by them with such distinguished applause at the Messrs. Cramer’s Concert on the 9th inst. Fantasia, Harp Obligato, Mr. Bochsa ; and Concerto Violin, Mr. Kiesewetter.—Leader Mr. F. Cramer. Conductor, Sir George Smart.—Full particulars of the Performance are given in the printed bills, which, with Tickets, Half-a-guinea each, may be had at the principal Music Shops, and of Mrs. Salmon, 22, Old Bond-street, of whom Boxes may be taken, accommodating Parties of Six and upwards. The Concert will commence at half-past Eight.
The Morning Chronicle (May 17, 1822): 1.
MRS. SALMON’S CONCERT, NEW ARGYLL ROOMS.—Mrs. SALMON has the honour to announce, that her CONCERT will take place at the above Rooms THIS EVENING, under the immediate Patronage of their Royal Highnesses the Duke and Duchess of CLARENCE.—Principal Vocal Performers: Madame Camporese, Madame Ronzi de Begnis, Mrs. Salmon and Miss Stephens; Mr. Vaughan, Mr. Begrez, Mr. W. Knyvett, Mr. Sale, Signor Placci, and Signor de Begnis. In the course of the Concert (for this occasion only), the Duet for Two Grand Piano-fortes, Mr. Cramer and Mr. Moschelles, as performed by them with such distinguished applause at the Messrs. Cramer’s Concert on the 9th inst. Fantasia, Harp Obligato, Mr. Bochsa, and Concerto Violin, Mr. Kiesewetter. Leader, Mr. F. Cramer; Conductor, Sir George Smart.—Full particulars of the Performance are given in the printed bills, which, with Tickets, Half-a-Guinea each, may be had at the principal Music Shops; and of Mrs. Salmon, 22, Old Bond-street; of whom boxes may be taken, accommodating parties of six and upwards.—The Concert will commence at half-past eight.
The Times (May 20, 1822): 3.
NEW ARGYLL ROOMS.
Mrs. Salmon’s concert took place at these rooms on Friday evening, and was, notwithstanding the counter-attraction at Covent-garden, by his Majesty’s visit to that theatre, so numerously attended, that several persons were obliged to remain in the ante-room, being unable to find even standing places amongst the fashionable crowd which filled the concert room. The female vocalists, besides. Mrs. Salmon, were Madame Camporese, Madame Ronzi de Begnis, and Miss Stephens. The latter sung the only song allotted to her with her usual sweetness; and Madame Camporese, in the duetto “Ah perdona,” shared well-merited applause with Mrs. Salmon. Madame R. de Begnis, in the quintetto “Ah quadrate,” from Il Turco in Italia, and a duetto with Signor de Begnis, was equally pleasing. Mrs. Salmon herself sung several airs, &c. with all that effect which her delightful and highly-cultivated voice is so well calculated to produce. She was particularly happy in the style in which she gave that beautiful air of Handel’s. “From mighty Kings.” “Oh Nanny,” also, she sung very sweetly; as she did the first verse of “ ‘Tis the last rose of summer.” The remaining verse of this melody she sung with variations, with an obligato accompaniment for the harp by Mr. Bochsa, arranged by him expressly for this concert. As a musical composition these variations are clever, but their general expression has no more affinity to the sentiments of the poetry which they accompany, than to those of any other poetry in the English language; the consequence of which is to render them wholly destitute of the power of imparting any pleasurable sensations to the audience. To the lover of genuine harmony, the absence of sympathy between the words and music of a song is as discordant as the want of concord between the accompaniment and the vocal notes to the ear of a mere musician. What can be the effect of giving utterance to sentiments like those in the present melody, plaintive almost: to despondency, in a succession of bold bravuras and flourishing cadences, other than at best to cause the music and words mutually to neutralize each other’s effects, if not to create a jarring sensation by their discordancy? Such as they were, however, they were very admirably executed. The gentlemen also acquitted themselves creditably. The exquisite feeling which Mr. Vaughan threw into his English style of singing his cantata of Pepusch, “Alexia,” afforded a very pleasing relief to the admiration and effect which constitute the eternal objects of the Italian school. Each. Style has its charms, but they are heightened by being blended. Besides the vocal performers, some of the solo instrumental performers received considerable applause: and the evening’s entertainment seemed to have given general satisfaction.
The Quarterly Musical Magazine and Review, vol. IV, (May 1822): 261-262.
MRS. SALMON’S concert was pre-eminent in vocal selection, and she exerted herself with great effect. She sung seven different things in nearly opposite styles, and in one air with variations, “The last rose of summer,” composed for her by MR. BOCHSA, the execution was so excessively difficult, and at the same time surmounted with such facility and precision, that SIR RICHARD BLACKMORE’S solecism can alone describe MRS. SALMON’S perfection—“Nought but herself can be her parallel.” Such indeed is this lady’s beauty of tone, velocity, and delicacy in execution, that she not only stands at the head of the English profession, but is more secure of captivating the senses perhaps than any singer of her time. Here too we heard MR. VAUGHAN’S Alexis, and though we hear heard it so often, it struck upon our ears and satisfied our judgment as the roost perfect performance in any species of vocal execution.