21 April 1828

Ignaz Moscheles’ Evening Concert

London: New Argyll Rooms—Time: Evening, Eight o’Clock

Tickets: 10s. 6d. 

Programme

Part I
Scene and Aria, in E flat major	Mlle Sontag	Mercadante
I.          Recitative  II.         Andante  III.       Bravura  IV.       Theme with Variations
Duet	Mlle Sontag, Mme Schütz	Rossini
Overture, Fidelio: Part I		Beethoven
Aria	Mme Schütz	Pacini
Grand Sestet for Violin, Piano, Flute, Horn, Horn and Violoncello (first time of performance)	Messrs. Mori, Moscheles, Sedlatzek, Platt, Rae, Lucas	Moscheles
Ballad, ‘The Tourney’ (first time)	Mr. Phillips
From Torvaldo e Dorliska  Duet, ‘E quel torbido aspetto’	Miss Bacon, Signor Pellegrini	Rossini
Piano Fantasia, Anticipations of Scotland with Orchestral Accompaniments	Mr. Moscheles	Moscheles
From Don Giovanni: Sextet, ‘Sola, sola in buio loco’	Miss Bacon, Mesdames Caradori-Allan, Schütz, Messrs. Begrez,Phillips, Signor Pellegrini	Mozart
Part II
La Sentinelle, Variations for Voice, Piano, Violin and Violoncello	Messrs. Begrez, Moscheles, Mori, Lindley	Hummel
Ballad (MS)	Miss Bacon	Lady [?]
Oboe Fantasia	Mr. Vogt	Vogt
Ballad, ‘Das Turnier’ arranged by Moscheles	Mr. Braham
From Semirade: Overture, arranged for Harp by M. Labarre	M. Labarre	Rossini
Duet, ‘Flow gently, Deva’ (composed expressly for them)	Messrs. Braham, Phillips	Parry
From Torvaldo e Dorliska: Scene and Aria	Signor Piozzi	Rossini
Free Piano Fantasia, incl. ‘Pibroch o’ Donald Dhu’	Mr. Moscheles

Principal Vocalists: Miss Bacon, Mlle Sontag, Mme Schütz; Messrs. Begrez, Braham, Phillips, Signors Pellegrini, Piozzi

Principal Instrumentalists:  M. Labarre, Messrs. Lucas, Mori, Moscheles, Platt, Rae, Sedlatzek, Vogt

Leader: Mr. Franz Cramer; Conductor: Sir George Smart

———————————

Programme Notes: Mme Caradori-Allan was advertised to sing an aria by Mercadante in the first part, however she was not feeling well and did not perform.

Advertisements

The Literary Gazette: and Journal of Belles Lettres, Arts, Sciences, &.c (March 29, 1828): 206.

MR. J. MOSCHELES begs to announce to the Nobility, Gentry, and his Friends in general, that his EVENING CONCERT will take place on Monday, April 21, at the Argyll Rooms.

The scheme will shortly appear.

The Atlas (March 30, 1828): 206.

MR. J. MOSCHELES begs to announce to the Nobility, Gentry, and his Friends in general, that his Evening’s CONCERT will take place on Monday, 21st April, at the Argyll Rooms; the scheme will shortly appear. 

The Morning Post (April 1, 1828): 1.

MR. J. MOSCHELES begs to announce to the Nobility, Gentry, and his Friends in general, that his EVENING’S CONCERT will take place on MONDAY, the 21st of April, at the Argyll Rooms.—The Scheme will shortly appear. 

The Morning Chronicle (April 8, 1828): 1.

MR. MOSCHELES respectfully announces that Mademoiselle SONTAG has most kindly consented to perform at his CONCERT, at the ARGYLL ROOMS, on MONDAY, 21st instant, in addition to the eminent talents already announced in the bills.

The Morning Post (April 8, 1828): 1.

MR. MOSCHELES respectfully announces that Mademoiselle SONTAG has most kindly consented to perform at his CONCERT, at the Argyll Rooms, on MONDAY, 21st instant, in addition to the eminent talents already announced in the Bills.

The Morning Post (April 11, 1828): 1.

[Same as issued in The Morning Post on April 8]

The Atlas (April 13, 1828): 240.

MR. MOSCHELES respectfully announces that Mademoiselle SONTAG has most kindly consented to perform at his CONCERT, at the Argyll Rooms, on Monday the 21st instant, in addition to the eminent talents already announced in the bills.

The Morning Chronicle (April 16, 1828): 1.

MR. MOSCHELES respectfully announces that Mademoiselle SONTAG has most kindly consented to perform at his CONCERT, at the ARGYLL ROOMS, on MONDAY next, 21st inst., in addition to the eminent talents already announced in the bills.

The Morning Post (April 16, 1828): 1.

[Same as issued in The Morning Post on April 8]

John Bull (April 20, 1828): 121.

NEW ARGYLL ROOMS.—Mr. MOSCHELES has the honour to announce that his CONCERT will take place TO-MORROW EVENING. The following eminent Performers have most kindly promised their assistance:—Madlle. SONTAG, Madame Caradori, Miss Bacon, and Madame Schultz: Signor Pellegrini, Signor Begrez, Signor Rozzi, Mr. Phillips, and Mr. Braham; Messrs. Mori, Lindley, Voght, Labarre, and Dragonetti. Leader, Mr. F. Cramer: Conductor, Sir G. Smart. Full particulars are given in the bill. Tickets, 10s. 6d. each, to be had of Mr. Moscheles, 77, Norton-street, Portland-place, and at the principal Music Shops.

Flora. Ein Unterhaltungs-Blatt (April 20, 1828): 1.Dlle. Sontag ist nun in London. Sie sollte am 21. April zum erstenmale in einem Concert singen. Welches Hr. Moscheles in »Argyll-Rooms« geben wollte.

Reviews

The Globe and Traveller (April 22, 1828): 4.

Mademoiselle Sontag sang last night at Mr. Moschelles’ Concert at the New Argyll rooms. She was rapturously applauded. 

The Courier (April 23, 1828): 4.

MOSCHELES’ CONCERT.—That the eminent talents of Moscheles would at all times ensure a numerous audience, might be reasonably expected; but when it was announced that Sontag would sing at his Concert, which took place on Monday evening, it became the universal topic of conversation, and an eager rush for places was generally anticipated. 

Long before the usual hour, the Argyll Rooms were besieged, and in a few moments after the doors were thrown open, the saloon, boxes, passages, anti-rooms, and orchestra, were crowded. Some apprehensions were entertained that Sontag would not attend, and a printed apology was circulated for her not singing a Duet with Madame Schutz, in consequence of her having been unwell for several days. 

During the progress of the performance, all eyes were frequently turned towards the door, near the orchestra; at length about half-past nine o’clock, the Comet appeared; that plaudits were deafening, and the fair songstress evidently felt the generous and hearty welcome which she received. She sung a scena and air, composed expressly for her by Mercadante; it was in the key of E flat, and consisted of four movements. 

The first, a Recitative, which afforded her an opportunity of displaying the power of her voice; the second, an Andante, which she sung in a manner that proved that the Bravura, or florid style, is not the only one she excels in; she gave several passages with most exquisite feeling and expression, which drew forth repeated “bravos,” from the audience. In the last movement, which consisted of a Thema, with variations, she quite electrified the company, not only by the rapidity and neatness of her execution, but by the apparent ease with which she ascended and descended the chromatic scale in a distinct or Staccato manner; and one of the variations in Arpeggio was the most beautiful effort imaginable; in short, it may with confidence be said, that no singer ever displayed more astonishing, and at the same time such pleasing powers. The consideration of her indisposition prevented a universal call for a repetition. Mademoiselle Sontag was neatly dressed in black, and her demeanour was modest and unassuming. Sir G. Smart made an apology for Madame Caradori, on account of indisposition, requesting that the Aria, which she was to have sung might be omitted, but that she would take a part in Mozart’s Sola sola.

There was a host of talent besides Sontag; Caradori, Schutz, Miss Bacon, Braham, Phillips, Pelegrini [sic], and Piozzi, composed the Vocal Choir. Mori, Vogt, Labarre, and Moscheles were the Solo Players. 

Braham sung an [sic] heroic ballad, composed for him by Moscheles; it is a scientific, effective composition, and was capitally executed. Braham and Phillips sung exquisitely a duet composed expressly for them by Parry, called “Flow gently Deva;” the duet is of a dramatic kind, and affords each Singer an opportunity of displaying his talent to great advantage. Miss Bacon (besides a duet with Pellegrini) sung a MS. ballad by a Lady, with great feeling, taste, and expression; every word was distinctly heard, and the ornaments were judiciously introduced. 

Mori, Moscheles, Sedlatzek, Platt, Rae and Lucas, performed a sestetto in the best style. Labarre on the harp, and Vogt on the oboe, charmed the audience with their fine performances. 

The hero of the evening, Moscheles, played his “Anticipations of Scotland.” The plaintive air of “Auld Robin Gray,” was most touchingly given, and a spirited reel, effectively arranged, and executed in a masterly manner; the side drum which is introduced towards the close, told well, without being too noisy. 

Though it was late, every one looked anxiously for Moscheles’ performance of a fantasia, in which would be introduced Sir Walter’s Scott’s favourite Celtic war song, “Pibrock [sic] o’ Donald Dhu,” nor was this the less interesting, since the Great Unknown was known to be in the room; and thus while the ear was employed in attending to Moscheles, the eye was turned towards the “Author of Waverley.” We scarcely need add, that the performance was one which both delighted and astonished the company. F. Cramer led an excellent band, and the indefatigable Sir George Smart conducted, with his accustomed urbanity and attention, this great musical treat.

The Morning Post (April 23, 1828): 3. 

MOSCHELES’ CONCERT. 

That the eminent talents of MOSCHELES would at all times ensure a numerous audience, might be reasonably expected; but when it was announced that SONTAG would sing at his Concert, which took place on Monday evening, it became the universal topic of conversation, and an eager rush for places was generally anticipated. 

Long before the usual hour, the Argyll Rooms were besieged, and in a few moments after the doors were thrown open, the saloon, boxes, passages, anti-rooms, and orchestra, were crowded. Some apprehensions were entertained that SONTAG would not attend, and a printed apology was circulated for her not singing a Duet with Madame SCHUTZ, in consequence of her having been unwell for several days. 

During the progress of the performance, all eyes were frequently turned towards the door, near the orchestra; at length about half-past nine o’clock, the Comet appeared; that plaudits were deafening, and the fair songstress evidently felt the generous and hearty welcome which she received. She sung a scena and air, composed expressly for her by MERCADANTE; it was in the key of E flat, and consisted of four movements. The first a Recitative, which afforded her an opportunity of displaying the power of her voice; the second, an Andante, which she sung in a manner that proved that the Bravura, or florid style, is not the only one she excels in; she gave several passages with most exquisite feeling and expression, which drew forth repeated “bravos,” from the audience. In the last movement, which consisted of a Thema, with variations, she quite electrified the company, not only by the rapidity and neatness of her execution, but by the apparent ease with which she ascended and descended the chromatic scale in a distinct or Staccato manner; and one of the variations in Arpeggio was the most beautiful effort imaginable; in short, it may with confidence be said, that no singer ever displayed more astonishing, and at the the [sic] same time such pleasing powers. The consideration of her indisposition prevented an [sic] universal call for a repetition. Mademoiselle SONTAG was neatly dressed in black, and her demeanour was modest and unassuming. Sir GEORGE SMART made an apology for Madame CARADORI, on account of indisposition, requesting that the Aria, which she was to have sung might be omitted, but that she would take a part in MOZART’S “Sola sola.” 

There was a host of talent besides SONTAG; the elegant CARADORI, the scientific Madame SCHUTZ, the clever and improving Miss BACON, the unrivalled BRAHAM, the Primo Basso PHILLIPS, PELEGRINI [sic], and PIOZZI, composed the Vocal Choir. MORI, VOGT, LABARRE, and MOSCHELES were the Solo Players. 

BRAHAM sung an [sic] heroic ballad, composed for him by MOSCHELES; it is a scientific, effective composition, and was capitally executed. BRAHAM and PHILLIPS sung exquisitely a duet composed expressly for them by PARRY, called “Flow gently Deva;” the duet is of a dramatic kind, and affords each Singer an opportunity of displaying his talent to great advantage. Miss BACON (besides a duet with PELLEGRINI) sung a MS. Ballad by a Lady, with great feeling, taste, and expression; every word was distinctly heard, and the ornaments were judiciously introduced. 

MORI, MOSCHELES, SEDLATZEK, PLATT, RAE and LUCAS, performed a Sestetto in the best style. LABARRE on the Harp, and VOGT on the Oboe, charmed the audience with their fine performances. 

The hero of the evening, MOSCHELES, played his “Anticipations of Scotland.” The plaintive air of “Auld Robin Gray” was most touchingly given, and a spirited Reel, effectively arranged, and executed in a masterly manner; the side drum which is introduced towards the close, told well, without being too noisy. 

Though it was late, every one looked anxiously for MOSCHELES’ performance of a fantasia, in which would be introduced Sir WALTER SCOTTS’ favourite Celtic war song, “Pibroch o’ Donald Dhu,” nor was this the less interesting, since the Great Unknown was known to be in the room; and thus while the ear was employed in attending to MOSCHELES, the eye was turned towards the “Author of Waverley.” We scarcely need add, that the performance was one which both delighted and astonished the company. F. CRAMER led an excellent band, and the indefatigable Sir GEORGE SMART conducted, with his accustomed urbanity and attention, this great musical treat.

The Standard (April 23, 1828): 4.

Information was given yesterday at Marlborough-street of several daring robberies having been committed at the convert given by M. Moscheles at the Argyll Rooms on Monday night. Owing to the attraction of Mademoiselle Sontag the rooms were crowded to an extreme, and there is little doubt of several well-dressed thieves having gained access to the rooms. Several gentlemen had their pockets cut, and one gentleman was deprived of a valuable gold repeating-watch and its appendages. The gentleman stated that he first missed his watch in the avenue leading to the rooms, which was crowded with livery-servants, and he had little doubt but that some one among the number took it—the conduct of these servants was unruly in the extreme, notwithstanding the exertions of the officers to preserver order.

Caledonian Mercury (April 26, 1828): 2.

MOSCHELES’ CONCERT.—Long before the usual hour, the Argyll Rooms were besieged, and in a few moments after the doors were thrown open, the salon, boxes, passages, anti-rooms, and orchestra, were crowded. During the progress of the performance, all eyes. Were frequently turned towards the door, near the orchestra; at length about half past nine o’clock the Comet (Sontag) appeared; the plaudits. Were deafening, and. The fair songstress evidently felt the generous and hearty welcome which she received. She sung a scena and air, composed expressly for her by Mercadante, which drew forth repeated “bravos” from the audience. Madlle. Sontag was dressed in black, and her demeanour was modest and unassuming, there was a host of talent besides. Though it was late, every one looked anxiously for Moscheles’ performance of a fantasia, in which would be introduced Sir Walter Scott’s favourite Celtic war song, “Pibroch o’ Donald Dhu,” nor was this the less interesting, since the “Great Unknown” was known to be in the room; and thus while the ear was employed in attending to Moscheles, the eye was turned towards the “Author of Waverley.”

Dublin Evening Packet and Correspondent (April 26, 1828): 3.

MOSCHELES’ CONCERT—MADAMOISELLE SONTAG.

That the eminent talents of Moscheles would at all times ensure a numerous audience, might be reasonably expected; but when it was announced that Sontag would sing at his Concert, which took place on Monday evening, it became the universal topic of conversation, and an eager rush for places was generally anticipated. 

Long before the usual hour, the Argyll Rooms were besieged, and in a few moments after the doors were thrown open, the saloon, boxes, passages, anti-rooms, and orchestra, were crowded. Some apprehensions were entertained that Sontag would not attend, and a printed apology was circulated for her not singing a Duet with Madame Schutz, in consequence of her having been unwell for several days. 

During the progress of the performance, all eyes were frequently turned towards the door, near the orchestra; at length about half-past nine o’clock, the Comet appeared; that plaudits were deafening, and the fair songstress evidently felt the generous and hearty welcome which she received. She sung a scena and air, composed expressly for her by Mercadante; it was in the key of E flat, and consisted of four movements. 

The first, a Recitative, which afforded her an opportunity of displaying the power of her voice; the second, an Andante, which she sung in a manner that proved that the Bravura, or florid style, is not the only one she excels in; she gave several passages with most exquisite feeling and expression, which drew forth repeated “bravos,” from the audience. In the last movement, which consisted of a Thema, with variations, she quite electrified the company, not only by the rapidity and neatness of her execution, but by the apparent ease with which she ascended and descended the chromatic scale in a distinct or Staccato manner; and one of the variations in Arpeggio was the most beautiful effort imaginable; in short, it may with confidence be said, that no singer ever displayed more astonishing, and at the same time such pleasing powers. The consideration of her indisposition prevented a universal call for a repetition. Mamemoiselle [sic] Sontag was neatly dressed in black, and her demeanour was modest and unassuming. Sir G. Smart made an apology for Madame Caradori, on account of indisposition, requesting that the Aria, which she was to have sung might be omitted, but that she would take a part in Mozart’s Sola sola.

[the rest is the same as advertised in The Courier on April 23]

Dublin Morning Register (April 26, 1828): 3.

MOSCHELES’ CONCERT.—Long before the usual hour, the Argyll Rooms were besieged, and in a few moments after the doors were thrown open, the salon, boxes, passages, anti-rooms, and orchestra, were crowded. During the progress of the performance, all eyes. Were frequently turned towards the door, near the orchestra; at length about half past nine o’clock the Comet (Sontag) appeared; the plaudits. Were deafening, and. The fair songstress evidently felt the generous and hearty welcome which she received. She sung a scena and air, composed expressly for her by Mercadante, which drew forth repeated “bravos” from the audience. Madle. Sontag was dressed in black, and her demeanour was modest and unassuming, there was a host of talent besides. Though it was late every one looked anxiously for Moschele’s [sic] performance of a fantasia, in which would be introduced Sir Walter Scott’s favourite Celtic war song, “Pibroch o’ Donald Dhu,” nor was this the less interesting, since the Great Unknown was known to be in the room; and thus while the ear was employed in attending to Moscheles, the eye was turned towards the “Author of Waverley.”—London paper of Wednesday.

Allgemeine musikalische Zeitung (June 6, 1828): 411-413.

London… Am 21sten April gab Hr. Moscheles nicht ein besuchtes, sondern ein höchst überfüllt besuchtes Concert. Kaum waren die Thüren geöffnet, so war auch der ganze Saal bis auf das Orchester völlig besetzt: denn nicht allein das bekannte Meisterspiel des Concertgebers hatte diessmal die Menge gelockt, sondern auch der geliebte Stern des Tages, der Comet, wie sie in hiesigen öffentlichen Blattern genannt wurde, leuchtete in demselben, das heisst Henr. Sonntag, deren Talent bereits überraschenden Eindruck gemacht hatte, sang darin, und der neue Reiz bewährte hier seine immer frische Wunderkraft. Zwar hat sich allerdings eine Gegeupartey gebildet; die Verehrer der mit Recht berühmten Pasta, deren Stimme und tragischer Vortrag unbestritten unerreichbar ist, wollen der teutschen gefeyerten Sängerin nur den leichten und graziösen Styl zugestehen: doch hat sie als Donna Anna, als Donna del Lago ihren Ehrenplatz rühmlichst behauptet, und in Rossini’s Barbier halte sie die bekannten Variationen von Rode mit unbeschreiblichem Bey falle vorgetragen. So ein Magnet zieht schon.

Damit man sich aber einen Begriff macht, was in einem hiesigen Concerte Alles geboten wird, um es recht anziehend zu machen r will ich Ihnen einmal den Anschlagszettel liier beyfügen:

1. Scene und Arie, gesungen von Dem. Sonntag, für sie gesetzt und noch Manuscript, von Mercadante. Hundertfältiges Bravorufen durchhallte den Saal; sie hätte unfehlbar das Stück wiederholen müssen, wenn es nicht be kannt gewesen wäre, dass sie sich an diesem Tage nicht völlig wohl fühlte.
2. Duett von Rossini, gesungen von Dem. Sonntag und Mad. Schütz.
3. Ouvertüre zu Fidelio von Beethoven (erster Theil des Concerts).
4. Arie von Pacini, vorgetragen von Madame Schütz.
5. Sestetto für Pianof. , Violine, Flöte, zwey Hörner und Violoncell, componirt von Moscheles, vorgetragen vom Concertgeber , den Herren Mori, Sedlatzek, Platt, Rae und Lindley; hier zum ersten Male gespielt.
6. Ein ’irisches Lied, vorgetragen von Herrn Philipps.
7. Duetto aus Tornaldo e Dorliska „Quel torbido aspetto,“ gesungen von Miss Bacon und Herrn Pellegrini.
8. Arie von Mercadante, gesungen von Madame Caradori Allan (fiel aus, weil die Sängerin etwas unwohl geworden war).
9. The Anticipations of Scotland, Phantasie für das Pianof. mit Begleitung des Orchesters, von Moscheles componirt und vorgetragen.
10. Sestetto aus dem Don Giovanni „Sola, sola,“ vorgetragen von Mad. Caradori Allan, Miss Bacon, Mad. Schütz, den Herren Begrez, Pellegrini und Phillipps.

Zweyter Theil.

1. La Sentinelle, Concertante für eine Stimme, Pianof., Violine und Violoncell, componirt von Hummel und Moscheles, und vorgetragen von den Herren Begrez, Moscheles, Mori und Lindley.
2. Ballade, gesungen von Miss Bacon.
3. Phantasie für die Oboe, componirt und vorgetragen von Hrn. Vogt. 
4. Das Turnier, eine heroische Ballade, gesungen von Hrn. Braham, in Musik gesetzt von Moscheles.
5. Harfen -Solo, Ouvertüre zu Semiramis von Rossini, für das Instrument eingerichtet und gespielt von Herrn Labarre.
6. Ein neues Duett von Parry, gesungen von den Herren Braham und Phillipps.
7. Scene und Arie aus Torvaldo e Dorlisca vorgetragen von Herrn Piozzi.
8. Phantasie für das Pianof., in welches der Componist einen alten celtischen Lieblinsgesang Walter Scotts eingeflochten hat, in Musik gesetzt und vorgetragen vom Concertgeber.
9. Instrumental-Finale von Haydn.

Ob man wohl in Deutschland so Vieles an einem Abende geniessbar finden würde? Man dürfte zweifeln.

The Harmonicon, vol. VI (1828): 113.

[Diary of a Dilettante]

….

22nd. Moscheles crammed his room tolerably well last night, by means of Sontag. There were as many hearers as performers in the orchestra; and some beautiful women, too, mixed with the bows.

The Harmonicon, vol. VI (1828): 142.

M. MOSCHELES’,

At the Argyll Rooms, Monday, 21st April.

THIS was the fullest concert that the season has hitherto produced: every corner was crowded, almost to suffocation. Even the band were obliged to admit as many of the company among them as could find places. There were, it was said, more belles than bows in the orchestra. And such was the fact. Madlle. Sontag was the attraction though there was an abundance of other good things to draw an audience,—M. Moscheles’ sestetto, his Anticipations of Scotland, and his joint arrangement of La Sentinelle, among the number. To which must be added, Labarre’s harp solo, and Vogt’s fantasia,—the fantasia. Madlle. Sontag sung the Scena ed Aria, composed for her by Mercadante, and executed it exceedingly well; particularly as an apology had been made for her on the ground of illness. We must not omit mentioning an [sic] heroic ballad, “The Tourney,” composed for Mr. Braham, by Mr. Moscheles, and now performed for the first time, with applause. Mr. F. Cramer led, and Sir G. Smart conducted.

The Quarterly Musical Magazine and Review, vol. 10 (1828): 91.

Mr. Moscheles had the singular good fortune to produce Mad. Sontag before an English audience for the first time in an orchestra at his concert, and the room was of course crowded to
excess—even the orchestra was filled, to the evident inconvenience of the band, and many of those unfortunates who came too late to obtain seats were lingering about the anti-rooms, and suffering the miseries of Tantalus. Seldom have we witnessed so flattering a reception as that of Mademoiselle Sontag—nothing could exceed the eagerness with which her arrival was awaited, for as an additional incentive to curiosity, the place for her song was not indicated, and when she did make her appearance, it was difficult to say which was the most anxious to get the first glimpse of the prodigy, the audience or the band. Mr. Moscheles was exposed to censure for the too crowded state of his room, and with a little too much severity. It has been often the case for blame to be attached to a particular individual, as if it were a new offence; and though the custom is a bad one, yet with regard to Mr. Moscheles, every facility was given to the public that was possible, and their half guineas were returned to many who did not get into the room.

Correspondences

The Times (April 25, 1828): 3.

TO THE EDITOR OF THE TIMES.

Sir,—I am quite sure that you will contribute what lies in your power to punish cupidity, when carried to so barefaced a length as in the present instance, by public censure. I have therefore only to lay before you the facts of the case. I am one of those unfortunate persons who were induced to take tickets to Mr. Moschelles’s concert last evening. We were seven in number, and arrived at the Argyll-rooms at a quarter past seven, consequently three-quarters of an hour before the commencement of the performance. There were then more than 100 carriages behind us, to set down their parties. Judge, then, of our astonishment, when we ascended the staircase, to find, that so far from having good seats in the concert-room, we could not even get in at the door; but were compelled to remain in one of the ante-rooms. We had, of course, sent away our carriage, or we should have at once demanded the return of our money. Parties continued to arrive, all of whom were unable to obtain admittance to the room, and were consequently driven to the alternative, either of pacing about the ante-rooms, without hearing the performance, or endeavouring to recover their carriages, which, in most instances, was of course impossible. I have no hesitation ins saying, that company contained in fully 100 carriages were unable to obtain any entrance into the concert-room, in consequence of the culpable cupidity of Mr. Moschelles in issuing more tickets than could possible be accommodated; and surely, Sir, even if Mr. Moschelles had been willing immediately to return the money, it could have been no compensation to those persons who had been at the trouble of dressing themselves, having their horses put to, and coming a long distance, besides having refused other engagements, in order to be present at this concert. As this is by no means the first instance that this scandalous conduct has been pursued at the Argyll-rooms by certain greedy performers, I trust that you will give these lines insertion, in order that it may draw public censure on the authors of it. In a musical point of view, I have seldom listened to a worse-arranged concert, but with that at present I have nothing to do. Mr. Moschelles is perfectly acquainted with the number of persons which the room will contain; and it is surely taking a most scandalous liberty with the public to issue 200 or 300 tickets more than can be accommodated, as though such persons, noblemen and others, had nothing better to do than to dance attendance upon Mr. Moschelles whenever it may suit his humour to mislead them.

I am, Sir, your obedient servant.

Tulse-hill, Tuesday Morning.                                                                                  A MERCHANT.

Supplement to The Times (April 28, 1828): 2.

TO THE EDITOR OF THE TIMES.

Sir,—As in your desire to abate every thing that has the appearance of disadvantage to the public, you have admitted into your valuable paper a letter written in no very measured terms against me, I trust you will not refuse to insert my reply. That the merchant, whose angry feelings appear to be so much excited, should have been disappointed of a good place at my concert, I exceedingly regret; but when he says that at the time of his arrival upwards of a hundred carriages were still behind him, and that the room was already completely filled, I am compelled openly to contradict the assertion; for it is certain there were not, during any part of the night, more than from 20 to 20 persons in each of the ante-rooms. On perceiving some amongst the latter disappointed through their ability to enter the Concert-room, I openly offered to return the money; and the tickets presented the next day showed that the number who acceded to my proposal was only 28; amongst whom, perhaps, was the merchant himself, since I was threatened at the time that the circumstance should be noticed in the public papers. The following statement will, I am persuaded exonerate me in the opinion of every candid mind, from the unworthy accusations contained in your correspondent’s letter. Applications for tickets became as numerous on the day preceding the concert, that I sent to all the music-shops, requesting that all tickets remaining in their possession might be withheld, in order that I might be able to satisfy the demands of my own immediate connexions, and not exceed the limited number of admission. The door-keeps can prove that there were less than on many former occasions, and that no money was allowed to be taken at the doors. If the audience appeared unusually crowded, it is not so much to be attributed to excess of numbers as to the manner in which the seats were occupied; for it was remarked, that on the side opposite to the entrances, there was ample space, whilst the entrance-side was exceedingly thronged. Still, however, if the utmost number were admitted that the room could possibly contain, it was solely to oblige ladies, who declared that rather than be disappointed they would willingly take their places in the orchestra or ante-rooms; and I hardly expected that an inconvenience willingly suffered by the females would call forth such bitter complaints from a man. As to your correspondent’s remarks on the music of the night, which he of course must have heard, notwithstanding his want of accommodation, I do not consider them worthy of reply, and willingly refer this point to the taste and judgment of the intelligent audience. I remain, Sir, with respect, your obliged and obedient servant.                                                T. [sic] MOSCHELES.

No. 77, Norton-street, Portland-place, April 26.