18 January 1828

Ignaz Moscheles’ Second Concert

Edinburgh: Assembly Rooms

Time: Evening, Eight o’Clock

Tickets: 7s., Sets of four for 1 Guinea

 

↓Programme

Part I
Overture		Mozart
Song, ‘Orynthia’	Mr. Noakes	Bishop
Piano Concerto No.2 in E flat major	Mr. Moscheles	Moscheles
Duet, ‘Borne in yon blaze’	Miss E. Paton, Mr. Noakes	Dr. J. Clarke
Song, ‘Lo! Here the gentle lark’	Miss E. Paton	Bishop
Piano Fantasia, Anticipations of Scotland  with Orchestral Accompaniments	Mr. Moscheles	Moscheles
Part II
Overture		Beethoven
From La donna del lago   ‘Elena! oh tu, che chiamo!	Miss E. Paton	Rossini
Piano Fantasia, The Recollections of Ireland   with Orchestral Accompaniments	Mr. Moscheles	Moscheles
Song	Mr. Noakes
Song, ‘Gloomy Winter’s now awa’ ’	Miss E. Paton
Free Piano Fantasia	Mr. Moscheles
Instrumental Finale		Haydn

Principal Vocalists: Miss E. Paton; Mr. Noakes

Principal Instrumentalists: Mr. Moscheles

Leader: Mr. James Dewar; Conductor:  Mr. Hargitt, jun.

———————————

Programme Notes: The reviews do not clarify whether Mr. Noakes sang ‘Orynthia’ in the first part or the second

Encore: Song, ‘Orynthia—Mr. Noakes—Bishop

---

Charlotte: …the two next [this concert, and the concert on January 26] concerts were filled to overflowing. [RMM, 135.]

Advertisements

The Edinburgh Observer (January 11, 1828): 1.

ASSEMBLY ROOMS,

GEORGE STREET.

——

MR MOSCHELES, Professor of the Royal Academy of Music, has the honour to announce, that his

SECOND and LAST

CONCERT

Will take place on FRIDAY next, 18th January 1828, when he will perform—

1. CONCERTO (E flat) on the Grand Piano-forte, in which he will introduce a favourite Scotch Melody.
2. (By particular desire) the new FANTASIA, called—“Anticipations of Scotland,” with full Accompaniments.
3. An EXTEMPORE FANTASIA on the Piano-forte.

Further particulars will be announced in due time.

Tickets, 7s. each, or Sets of Four for a Guinea, to be had at the Principal Music Warehouses, and at the Assembly Rooms.

Caledonian Mercury (January 12, 1828): 1.

ASSEMBLY ROOMS, GEORGE STREET.

———

MR MOSCHELES,

PROFESSOR OF THE ROYAL ACADEMY OF MUSIC,

HAS the honour to announce, that his SECOND and LAST CONCERT will take place on Friday next, 18th January 1828.

When he will perform

1. CONCERTO (E flat) on the Grand Piano Forte, in which he will introduce a favourite Scotch Melody.
2. (By particular desire) the new Fantasia, called “ANTICIPATIONS of SCOTLAND,” with full Accompaniments.
3. An EXTEMPORE FANTASIA on the Piano Forte.

Further particulars will be announced in due time.

Tickets, 7s. each, or Sets of Four for a Guinea, to be had at the principal Music Warehouses, and at the Assembly Rooms

Edinburgh Evening Courant (January 12, 1828): 3.

ASSEMBLY ROOMS, GEORGE STREET.

———

MR MOSCHELES,

PROFESSOR OF THE ROYAL ACADEMY OF MUSIC,

HAS the honour to announce, that his Second and Last CONCERT will take place on Friday next, 18th January 1828, when he will perform—

1. Concerto (E flat) on the Grand Pianoforte, in which he will introduce a favourite Scotch Melody.
2. (By particular desire) the new Fantasia, called “Anticipations of Scotland,” with full Accompaniments.
3. An extempore Fantasia on the Pianoforte.

Further particulars will be announced in due time.

Tickets, 7s. each, or sets of four for a guinea, to be had at the principal Music Warehouses, and at the Assembly Rooms.

The Scotsman (January 12, 1828): 5.

ASSEMBLY ROOMS, GEORGE STREET.

MR MOSCHELES, Professor of the Royal Academy of Music, has the honour to announce, that his SECOND and LAST CONCERT will take place on Friday next, 18th January 1828, when he will perform :—

• CONCERTO (E flat) on the Grand Pianoforte, in which he will introduce a favourite Scotch Melody.
• (By particular desire) the new Fantasia, called—“ANTICIPATIONS of SCOTLAND,” with full Accompaniments.
• An EXTEMPORE FANTASIA on the Pianoforte.

Further particulars will be announced in due time.

Tickets, 7s. each, or Sets of Four for a Guinea, to be had at the principal Music Warehouses, and at the Assembly Rooms.

The Scotsman (January 16, 1828): 4.

ASSEMBLY ROOMS, GEORGE STREET.

MR MOSCHELES’ Second and Last Concert,

on Friday next, January 18, 1828.

ACT FIRST.

Overture,                 –                –                –	Mozart.
Song, Mr Noakes.
Concerto, (E flat,) Grand Piano-Forte, in
which will be introduced a favourite Scotch
Melody, Mr Moscheles,                –	Moscheles.
Duett, Miss E. Paton and Mr Noakes,
“Borne in yon blaze,”                –	Dr J. Clarke.
Song. Miss E. Paton, “Lo! Here the
gentle lark,”                –                –                –	Bishop.
Anticipations of Scotland—Fantasia, Grand
Piano-Forte, with Full Orchestral Accomp-
paniments, (second time of performance,)
Mr Moscheles,             –              –                –	Moscheles.

ACT SECOND.

Overture,                 –                –                –	Beethoven.
Scena ed Aria, “Elena, oh tu!” Miss E.
Paton,                –                –                –	Rossini.
Recollections of Ireland—Fantasia, Grand
Piano-Forte, with Full Orchestral Accomp-
paniments, Mr Moscheles,               –	Moscheles.
Song, Mr Noakes.
Song, Miss E. Paton, “Gloomy  Winter’s
now awa’.”
Extemporaneous Performance on the Grand
Piano-Forte, Mr Moscheles.
Instrumental Finale,                –                –	Haydn.
Leader, Mr James Dewar.

Mr Hargitt, Jun. will preside at the Piano-Forte.

The doors to be opened at Seven, and the Concert to commence at Eight o’clock.

Tickets, Seven Shillings each, or Sets of Four for a Guinea, to be had at the Principal Music Warehouses, and at the Assembly Rooms.

Reviews

The Scotsman (January 19, 1828): 6.

MR. MOSCHELES’ CONCERT.

There are so many musical pretenders, especially in so far as the piano-forte is concerted, that it is no ordinary gratification to hear a really good player. We do not prostitute the term playing, by applying it to the noise produced by divers young ladies, who thump the black and white keys of an instrument, which is but “a chaos of confused sounds:” nor do we use the phrase in reference to the dash and execution of some professors, evincing no talent, saving what consists in nimbleness of fingers—a quality in which an automaton may dispute the precedence with a human being. We look for spirit, feeling, and energy—an emanation from the soul, not a mechanical exertion; and never have we had an opportunity of seeing this combination so transcendently effected as by Moscheles last night. Shall we confess that we never before knew the full power of the piano-forte as an instrument? We frankly do. To pretend to criticise his wonderful performances, is a pitch of vanity to which we will not aspire; we can only “applaud him to the echo, which shall applaud again.” We can just supposed, that this genius, with his piano-forte, is what Timotheus was with his lyre—the ne plus ultra of perfection. Most performers merely reach the ear, but he is not contented with this superficial conquest; he makes his way directly to the heart, using the ear, if we may so speak, merely as the medium of communication. We do not mean that he is deficient in execution or brilliancy, but that he renders these subsidiary, everything that he does seeming to originate in enthusiasm, or rather inspiration, softened and welcomed by refined taste. His own concerto in E flat is a splendid composition, in which he introduced the very common Scotch air of “Logie o’Buchan,” and attached a beauty and importance to it which elicited the warmest approbation.

Shakspeare [sic] asks “what’s in a name?” but had he lived in this present year of the nineteenth century, he never would have put such ridiculous question. We have Trees, till they almost form a grove, and Patons at least more than a pair. We were truly glad to see Miss Eliza Paton acquit herself last night in a manner that will reflect credit on her illustrious relative, and advance her own reputation. In “Elena, oh tu,” she reminded us forcibly, both in voice and style, of Miss Ayton. If she goes on as she has lately been doing, she will soon acquire a proud niche in the musical temple. Her shake is delightfully clear, and she gives her sostenuto passages with great beauty. Ridiculous hend-dresses [sic] are very fashionable, but we hope she will never again spoil her expressive countenance by wearing the one she had on yesterday evening. Mr Noakes, without possessing a very sweet or powerful voice, displays science and execution, which seemed to be highly appreciated. His “Orynthia” was encored. As this concert happened the night previous to publication, we cannot write at such length as we cool desire, nor could we remain to hear the whole; but we were glad to see the room so well filled. Among the auditory we observed De Begnis and most of the Italian Company. Mr. Dewar discharged the duties of leader in a master-style.

Edinburgh Evening Courant (January 21, 1828): 3.

MR. MOSCHELES’ SECOND CONCERT.

We can add little or nothing to our recorded opinion of this great musician, farther than to express our increased admiration of is splendid performances on Friday evening. It may be asked why Moscheles plays nothing but his own music.  Did this refer to any more ordinary person, we would most certainly and cordially join in the question; but as it respects Moscheles, it is deserving of consideration. Moscheles is a great and original genius, and need not, therefore, be indebted to any other composer. His compositions for public performance, while they exhibit a complete knowledge of all the resources of the instrument, and demand the utmost nicety of performance, are not a compound of passages of bravura, calculated merely to display his mechanical powers, and to leave no impression save that of wonder, but are distinguished by great richness of fancy, profound science and masterly workings of the original subject. Besides, he writes for his own peculiar style of performance, because his acquirements could not be appreciated in playing the work of other authors, these being deficient in the characteristic features which distinguish him. Thus it is, then, that be, as well as most great players, have found it necessary to write for their own performance, for then “there is an unity of sentiment in the composition and execution which produces a deeper impression on the hearer than any other person can hope to effect.” There is a lustre about Moscheles’ playing which fascinates all who listen to him, and which shone forth the other evening with uncommon brilliancy. He first played his noble Concerto in E flat, which may be considered as the most characteristic of his style. The first movement is replete with striking and splendid effects. It is a most elaborate piece of writing, and is carried on through various modulations, highly wrought and coloured, like a piece of profound and masterly reasoning, clothes in gorgeous imagery of diction. He introduced the Scotch air, “Logie o’Buchan” as an adagio with magical effect. The concluding Polacca, which is perhaps the most difficult of all of his works, is a most animated and exhilarating movement, which, towards the conclusion, is wrought up with singular grandeur and magnificence. Moscheles’ performance of this was in a corresponding degree of energy and fire, and called forth a burst of rapturous applause. He played, likewise, his “Anticipations of Scotland” with increased effect; and the oftener we hear this the more we like it. His “Recollections of Ireland’ is written in a more elaborate style than the “Anticipations,” and presents many passages of extraordinary difficulty to the performer. It is admirably calculated for exercise to the piano-forte player; and to the scientific student, it affords many striking examples of double counter-point, particularly where the several airs, previously introduced, are interwoven with each other in a peculiar and masterly style. The performance of this was remarkable for its extreme delicacy, tenderness, and brilliancy, and excited universal admiration and delight. He concluded with an extemporaneous fantasia, in which he developed the resources of his art, and introduced several favourite airs, which he managed with great skill.

Miss E. Paton gave increased proof of rising talent.—Her performance of the very difficult song, “Elena oh tu” was a fine specimen of correct and highly finished singing in the bravura style’ and the song, “They say my love is dead,” she has made her own by her peculiarly touching and simple manner of singing it. M. Noakes also gained considerably in the favour of his audience by his chaste performance of “Orynthia,” and Dr Clarke’s song. And the band did as well as could be expected from one so imperfect in its complement.

The Assembly Room was much better filled than on the first occasion, there being, perhaps, 300 present, but still there was a deficiency in the usual complement; which can be accounted for no otherwise than by the number of public musical entertainments which have taken place during the present winter—unprecedented, we believe, in our musical annals.  We cannot, therefore, quarrel with our fellow-amateurs on this apparent want of taste; but we must still remark, that few, very few, of those who might have attended, with least inconvenience to their purse and their time, were present on Friday night. They have still another opportunity of redeeming their musical character, should Mr Moscheles fulfil his intention of giving another concert on Tuesday the 29th instant. we are aware that Signor De Begnis intends to have a concert in the Assembly Rooms on the 1st of next month: but we here take the liberty of pressing on Signor De Begnis the great advantage a conjunction of interests might produce, were he to add his celebrated name to that of Moscheles. It would surely be much better for them, in the exhausted state of our finances, to have thus one good concert, rather than two bad ones.

The Edinburgh Observer (January 22, 1828): 4.

MR MOSCHELES’ CONCERT.

We adverted last week to the apathy with which concerts have been received since the introduction of the Italian Opera; and certainly the attendance on Friday night evinced no return of the eagerness with which similar entertainments were sought after during the two last winters. Scarcely twelve months since, Mr Cramer attracted full houses here; and his professional brethren seemed as anxious to aid, as the public to witness his performance. Neither by the public nor the profession has Mr Moscheles been supported in the same manner. To the friendly assistance, tendered with such alacrity to Cramer, he owes nothing and, although beyond question the first pianist of the day, he has been suffered to exhibit his powers before two as indifferent audiences, in point of numbers, as we have ever seen in the Assembly Rooms. Still it would be unfair to blame any one for this. The friendship of fiddlers, like that of ordinary mortals, must have some limit; and it would be rather too much to expect that they should come forward every occasion,—the more especially when, by. So doing, they were. Estranging the public partiality and patronage from the Society to which almost all of them belong.—Just as little can it be looked for,—even laying aside the superiority of the Opera to all other human enjoyments,—that the most indulgent papa will increase the pin money of the family to the extent of letting his six daughters, and two younger sons not yet provide for, attend a concert every evening. This very week, there is an Opera to-night, a concert to-morrow, the first of the professional series on Friday, besides the regular performances, twice a-day, of the infant Lyra, and her baby brother, 9 days old, who hums “God save the King,” with astonishing energy and expression. It is only in seasons, when temptations. Like these are present, that the heart of man becomes duly sensible of the blessings of being a Bachelor! We are included to think, however, that even with so many rival amusements, Mr Moscheles might safely venture on a third concert, as soon as the Italians quit town. On Friday evening, he performed three of his own compositions—a concerto in E flat, the “Anticipations of Scotland,” and the “Recollections of Ireland.” The first is, beyond comparison, the best, and is really an excellent piece of music; uniting at once the elaborateness and intricacy, that require and show off the highest powers of execution, with a varied and finely sustained melody throughout. The “[sic] Recollections of Ireland are an excellent arrangement and variation of three of Erin’s best melodies, “Cary [sic] Owen,” “Groves of Blarney,” and “St Patrick’s Day.” The subjects are capitally introduced and treated; and towards the conclusion there are two extremely clever passages, in which the airs are harmonized to one another, with a singular ingenuity and effect of the “Anticipations.” We can only say that we have seldom heard greater trash. The melodies of it, with the exception of “Auld Robin Gray,” are the two very worst of the many bad airs extant. If Mr Moscheles, after leaving us, shall think it worth while to write “Recollections” of our northern and, for heaven’s sake let him select some other tunes than “Kelvin Grove” and a wretched strathspey;—and, above all, as he would not willingly do violence to the feelings of himself and others, let him forever forswear the barbarous accompaniment of a side-drum. The tattoo [sic] is well enough in the Castle, but most hideous in the Concert Room. These observations, of course, apply only to the piece as a composition. In what regards execution, even here, as in every thing else, he proved himself the greatest master of his instrument that has visited this country. He has all the purity of taste, and chastened expression of Cramer, and all the fire and brilliancy of Kalkbrenner, with a delicacy of touch that neither of them have attained, and an exuberance of fancy and enthusiasm that we have never seen equalled. There could not be a better method of shaming the bulk of pianists out of the absurdities of thundering and posture-making, than an attendance on Moscheles. There is no convulsive beating of the poor instrument; and still less does he seems to be aware that there is any crime in letting the hand acquire additional flexibility, by extending the motion beyond the wrist.

The orchestra was too small to require any particular notice; even if they had played any thing new, instead of Prometheus, which we soon expect to hear whistled about the streets like the Hunter’s Chorus, if it is as regularly served up as it has been for the last four years. Miss Paton sung “Elena, oh tu!” with good taste, and received hearty applause. We were determined to praise her highly, until, in the after part of the evening, we saw she had forgot the advice formerly tendered, as to interfering with the conductor’s department. If the song was not in proper time, she should, according to the invariable custom of the first singers, make the proper intimation during the symphony; any subsequent alteration savours somewhat of aff’——; but we will not write the word, for she sung Rossini’s air so well, that we forgive these little female whims.

Edinburgh Evening Courant (January 24, 1828): 3.

M. MOSCHELES.

This great musician has announced a morning concert for Saturday, bring the last time he can appear before an Edinburgh audience this season. We have already entered at such length into an examination of his vast abilities, both as an author and as a performer, that to enlarge upon them now would be needless repetition. But we cannot allow the present opportunity to escape without saying a few words, by way of preparing those, who mean to go to his concert, for a greater relish of what is to be performed. Many, we doubt not, are already well acquainted with his popular concerto in E major, in which is introduced the British Grenadier’s march. Of this we shall speak more particularly when we review the concert: we only now remark, that it is one of the most brilliant and sparkling of all his compositions; and is, besides its intrinsic excellence, an invaluable study for the pianoforte player. More interesting than even this, however, will be the performance of a selection from his studies published and unpublished. They display the most minute and careful attention to the purpose for which they are intended. But, while instruction is the principal object, the taste of the pupil is gratified and improved by the originality and beauty of the compositions. The merits of the published studies have been already decided on; as to those still in manuscript, we can speak from personal knowledge of them, having had the pleasure of hearing them played by the author himself. It is enough at present to say, they equal in composition those already published, as much as they exceed them in difficulty, being intended solely for those who have acquired an uncommon command of the instrument. The great novelty of the day, however, will be the concerto for voice, pianoforte, harp, and flute. This singular composition, founded on a celebrated romance by Blangini, and originally the joint production of Moscheles, Mayseder the famous violinist, and Giuliani the harpist, was firstly played at Vienna by them, and was received with rapturous applause by the most critical and fastidious audience in Europe. Each part being intended to exhibit the performer’s utmost skill, it may easily be supposed that the piece is extremely difficult. But it is exquisitely beautiful; and the combination of the human voice with the other instruments produces an effect little short of enchantment. M. Moscheles produced it last season in London, with an arrangement by himself for Mr Nicholson’s flute, instead of the original violin part, which, if possible, rendered it more captivating. The flute part is an arduous undertaking for Mr Platt; but, with some modifications of its very difficult passages, we have no doubt he will do it great justice. Miss Pauline Yaniewicz has proved herself quite able to undertake tasks of superior ability and Miss E. Paton has execution sufficient to go through her part with eclat.

With such a feast as Saturday’s Concert affords, it will be wonderful indeed if the Assembly Room is not crowded in every part.

The Harmonicon, vol. VI (February 1828): 58.

Mr. Moscheles gave three concerts. The first happened on the night of the Italian opera, which deprived him of the aid of many orchestral performers, and produced a very unsatisfactory audience, in relation to profit, but a most satisfactory one so far as the taste and intelligence of the auditors were concerned. The report made by his select company, spread his reputation with great rapidity, and his second concert exhibited the large Assembly Room very nearly filled with an audience of the first rank in Edinburgh. His performance on this occasion excited so much admiration, and became so much the subject of conversation amongst the lovers of music, that his third concert was full to overflowing. This progressive attraction of public attention was certainly in the highest degree complimentary to Moscheles’ talents; and the effect which he subsequently produced on a visit to Sir Walter Scott, when he treated extemporaneously some national music suggested to him on the occasion, so raised him in the estimation of this northern metropolis, that he is now considered as the most eminent pianist who has ever appeared amongst them. Miss Eliza Paton sang with great effect in all the three concerts, and not unfrequently reminded the audience of the Madame Pasta, whose style she makes her model. Mr. Dewar distinguished himself as a leader of much judgment and ability.

Allgemeine musikalische Zeitung (April 30, 1828): 300.

Hr. Moscheles halte vor Kurzem eine Kunstreise nach Edinburg unternommen; er gab dort Concert: es war nur wenig besucht. Sein Spiel hatte jedoch den Anwesenden so sehr gefallen, dass der Künstler sich veranlasst sah, ein zweytes zu veranstalten, das schon weit besuchter, als das erste war. Ein drittes Concert wurde vor einer höchst zahlreichen und so entzückten Versammlung gegeben, dass ihn diese nördliche Hauptstadt für den ersten Pianisten erklärt, der je erschienen ist.

Bey dieser Gelegenheit besuchte Hr. Moscheles auch den gewesenen grossen Unbekannten in Abbotsford, und wurde von ihm, wie das zu er warten stand, sehr freundlich empfangen. Die Rede kam natürlich bald auf schottische Volkslieder und man sang dem Gaste mehre solche, ihm noch ganz unbekannte Bardengesänge vor. Sogleich setzte sich der Componist an das Instrument und phantasirte über diese Volksgesänge so, dass der vielgewandle Dichter in Bewunderung ausbrach. Kurz Beyde fanden gegenseitig, was sie geh o fit hatten und schieden gleich befriedigt von einander.