Signor Masoni’s Grand Vocal and Instrumental Concert
London: Hanover Square Rooms—Time: Evening, Eight o’Clock
Tickets: 10s. 6d.
|From Don Giovanni: Duet, ‘Fuggi, crudele, fuggi!’||Miss Novello, Signor Curioni||Mozart|
|Oboe Fantasia||Mr. G. Cooke|
|From Le cantatrici villane:|
Duet, ‘Mentre Francesco faceva il brodo’
|Signors de Begnis, Giubilei||Coccia|
|Violin Concerto||Signor Masoni|
|Aria, ‘Il braccio mio conquise’||Mme Caradori-Allan||Niccolini|
|Grand Potpourri Concertant for Piano and Violin||Mr. Moscheles, Signor Masoni||Moscheles|
|From Il Turco in Italia:|
Quintet, ‘Oh! guardate che accidente’
|Miss Novello, Mme Caradori-Allan, Signors Curioni, de Begnis, Giubilei||Rossini|
|From The Choice of Hercules: |
Air, ‘There the brisk sparkling nectar drain’
|Ballad, ‘Pale autumn flowers’||Mme Sala||J. Lodge|
|From Il Fanatico per la Musica:|
Duet, ‘Con pazienza sopportiamo’
|Mme Caradori-Allan, Signor de Begnis||Fioravanti|
|Violin Variations on a theme, |
‘Non piu mesta’ from Rossini’s La Cenerentola
|Aria, ‘Yarico to her lover’||Miss Woodyatt||Hummel|
|From L’ Italiana in Algeri: Trio, ‘Pappataci’||Signors Curioni, de Begnis, Giubilei||Rossini|
|Duet, ‘Ah! maiden fair’||Miss Woodyatt, Mr. Horncastle||Paisiello|
|Principal Vocalists: Miss Novello, Miss Woodyatt, Mesdames Caradori-Allan, Sala; Mr. Horncastle, Signors Curioni, de Begnis, Giubilei|
|Principal Instrumentalists: Messrs. G. Cooke, Masoni, Moscheles|
|Leaders: Signor Spagnoletti and Mr. Thomas Cooke; Conductor: Sir George Smart|
UNDER THE IMMEDIATE PATRONAGE OF
THE KING’S CONCERT ROOMS,
Vocal and Instrumental
Friday Evening, 21st March, 1834.
Madame CARADORI ALLAN,
Miss CLARA NOVELLO, AND Miss WOODYATT
Signor GIUBILEI, AND Mr. HORNCASTLE,
Signor DE BEGNIS
M. MOSCHELES, AND G. COOKE,
Messrs. DRAGONETTI, LINDLEY, NICHOLSON, WILLMAN, BARRET, COOK, HARPER
PLATT, ROUSSELLOT, ELIASON, TOLBECQUE, MORALT, ANDERSON,
NICKS, PIGOTT, HATTON, &c. &c.
|Conductor, . . . . . . . . SIR GEORGE SMART.|
|Leaders of the Orchestra, . . . Sig. SPAGNOLETTI & Mr. T. COOKE.|
THE CONCERT WILL COMMENCE AT EIGHT O’CLOCK.
TICKETS, 10s. 6d. each, may be had of Signor MASONI, No. 7, Wilton Place,
Belgrave Square; and at the HANOVER SQUARE ROOMS;
Also of the following Booksellers:—SEQUIN, Regent Street; SAMS, & M’CLARY, St. James’s Street;
HOOKHAM, MITCHELL, EBERS, and ANDREWS, Old Bond Street; and SMITH & ELDER, Cornhill;—also of the following Musicsellers [sic]:—MONZANI & CO., New Bond Street; DAVIS & Co., Coventry Street; NOVELLO, Frith Street, NOVELLO, Frith Street, Soho; HOWELL, King William Street; KEITH, PROWSE. & Co., And COLLARD, Cheapside; GEROCK & Co., Cornhill; and BETTS, Royal Exchange.
[GB-Lbl Playbills 320]
The Morning Post (March 4, 1834): 1.
SIGNOR MASONI has the honour to acquaints the Nobility, Subscribers to the Opera, and the Public that he will give a GRAND CONCERT (under the immediate patronage of her Majesty), at the Hanover-square Rooms, on FRIDAY EVENING, the 21st of March instant, on which occasion he will be assisted by the first vocal and instrumental talent in London. The orchestra will be numerous and complete, comprising the principal performers of the King’s Theatre and Philharmonic Orchestras. Tickets, 10s. 6d., each, to be had of Signor Masoni, 7, Wilton-place, Belgrave-square; at the principal Music Warehouses.
The Court Journal: Gazette of the Fashionable World, vol. 6, (March 8, 1834): 166.
SIGNOR MASONI has the honour to acquaints the NOBILITY, SUBSCRIBERS to the OPERA, and the PUBLIC that he will give A GRAND CONCERT, (Under the Patronage of her Majesty), at the Hanover Square Rooms, on Friday Evening, the 21st of March instant, on which occasion, he will be assisted by the First Vocal and Instrumental Talent in London.
The Orchestra will be numerous and complete, comprising the Principal Performers of the King’s Theatre and Philharmonic Orchestra.
Tickets, 10s. 6d., each.
To be had of Signor Masoni, 7, Wilton-place, Belgrave-square; at the Principal Music Warehouses.
The Morning Post (March 13, 1833): 1.
UNDER the immediate Patronage of her MAJESTY.—The King’s Concert Rooms, Hanover-square.—Signor MASONI’S GRAND VOCAL and INSTRUMENTAL CONCERT on FRIDAY EVENING, March 21, 1834. Vocal Performers—Madame Caradori Allan, Miss Clara Novello, Miss Woodyatt, and Madame Sala; Signor Curioni, Signor Giubilei, Signor de Begnis, and Mr. Horncastle. Solo Performers—M. Moscheles, G. Cooke, and Signor Masoni. Instrumental Performers—Messrs. Dragonetti, Lindley, Nicholson, Willman, Barret, Cook, Harper, Platt, Roussellot, Eliason, Tolbecque, Moralt, Anderson, Nicks, Pigott, Hatton, &c. &c. Conductor, Sir George Smart; Leaders of the Orchestra, Sig. Spagnoletti and Mr. T. Cooke. The Concert will commence at Eight o’Clock. Tickets, 10s. 6d. each, may be had of Signor Masoni, No. 7, Wilton-place, Belgrave-square; at the Hanover-square Rooms; and of the various Musicsellers.
John Bull (March 16, 1834): 81.
SIGNOR MASONI most respectfully acquaints the Nobility and Gentry that his GRAND VOCAL and INSTRUMENTAL CONCERT under the immediate patronage of Her Majesty, will take place on FRIDAY Evening, 21st of March, at the KING’S CONCERT ROOMS, Hanover-square. Vocal Performers—Madame Caradori Allan, Miss Clara Novello, Miss Woodyatt, and Madame Sala; Signor Curioni, Signor Giubilei, Mr. Horncastle, and Signor De Begnis. Solo Performers—Mr. Moscheles, Mr. G. Cooke, and Signor Masoni. Conductor—Sir George Smart. Leaders of the Orchestra—Sig. Spagnoletti and Mr. J. Cooke. The Concert will commence at Eight o’clock.—Tickets, 10s. 6d. each, may be had of Signor Masoni, 7, Wilton-place, Belgrave-square; at the Hanover-square Rooms, and at the various Music Warehouses.
The Globe and Traveller (March 20, 1833): 1.
SIGNOR MASONI most respectfully acquaints the Nobility and Gentry that his GRAND VOCAL and INSTRUMENTAL CONCERT will take place on FRIDAY EVENING 21st of March, 1834, at the King’s Concert Rooms, Hanover-square, under the immediate patronage of her Majesty.
PART 1.—Overture to “Egmont”—Beethoven. Duetto, “Fuggi, crudel,” Miss C. Novello and Signor Curioni—Mozart. Fantasia, Oboe, Mr. G. Cooke—Duetto Buffo, “Mentre Francesco faceva il Brodo,” Signor de Begnis and Signor Guibilei—Coccia. Concerto, Violin, Signor Masoni. Ario [sic], “II Braccio mio conquise,” Madame Caradori Allan—Nicollini. Concertante, Pianoforte and Violin, M. Moscheles and Signor Masoni—Moscheles and Lafont. Grand Quintetto, “Oh, guardate che Accidente,” Madame Caradori Allan, Miss C. Novello, Signor Curioni, Sig. Giubilei, and Signor de Begnis (Il Turco in Italia) —Rossini.
PART 2.—Air, “There the brisk sparkling,”Mr. Horncastle—Handel. Ballad, “Pale autumn flowers,” Madame Sala—J. Lodge. Duetto, “Con Pazienza,” Madame Caradori Allan and Signor de Begnis—Fioravanti. Air, with Variations, Violin. Signor Masoni—Lepinsky. Aria, “Yarico to her lover,” Miss Woodyatt—Hummel. Terzetto, “Pappataci,” Signor Curioni, Signor Giubilei, and Signor de Begnis (L’Italiana in Algieri)—Rossini. Duetto, “Ah, maiden fair,” Miss Woodyatt and Mr. Horncastle—Paësiello. Overture to “Euryanthe” —C. M. Von Weber.
Tickets, 10s. 6d. each, may be had of Signor Masoni, 7, Wilton-place, Belgrave-square; at the Hanover-square Rooms; and of all Music-sellers.
The Morning Post (March 20, 1833): 1.
SIGNOR MASONI most respectfully acquaints the Nobility and Gentry that his GRAND VOCAL and INSTRUMENTAL CONCERT will take place TO-MORROW EVENING, March 21, 1834, at the King’s Concert Rooms, Hanover-square, under the immediate Patronage of her Majesty.
Part I. Overture to “Egmont” (Beethoven)—Duetto, “Fuggi, crudel,” Miss C. Novello and Sig. Curioni (Mozart)—Fantasia, oboe, Mr. G. Cooke—Duetto Buffo, “Mentre Francesco faceva il Brodo,” Sig. De Begnis and Sig. Guibilei (Coccia)—Concerto, violin, Sig. Masoni—Aria, “II Braccio mio conquise,” Madame Caradori Allan (Nicolini)—Concertante, pianoforte and violin, M. Moscheles and Sig. Masoni (Moscheles and Lafont)—Grand Quintetto, “Oh, guardate che Accidente,” Madame Caradori Allan, Miss C. Novello, Sig. Curioni, Sig. Giubilei, and Sig. De Begnis, “Il Turco in Italia” (Rossini).
Part II. Air, “Mr. Horncastle”—Ballad, “Pale Autumn Flowers,” Madame Sala (J. Lodge)—Duetto, “Con Pazienza,” Madame Caradori Allan and Sig. De Begnis (Fioravanti)—Air, with variations, violin, Sig. Masoni (Lepinsky)—Aria, “Yarico to her Lover,” Miss Woodyatt (Hummel)—Terzetto, “Pappataci,” Sig. Curioni, Sig. Giubilei, and Sig. De Begnis, “L’Italiana in Algieri” (Rossini)—Duetto, Miss Woodyatt and Mr. Horncastle—Overture to “Euryanthe” (C. M. Von Weber).
Tickets, 10s. 6d. each, may be had of Sig. Masoni, No. 7, Wilton-place, Belgrave-square; at the Hanover-square Rooms; and of all Musicsellers.
The Times (March 20, 1833): 2.
SIGNOR MASONI most respectfully acquaints the Nobility and Gentry that his grand VOCAL and INSTRUMENTAL CONCERT will take place TO-MORROW EVENING, Friday, March 21, at the King’s Concert Rooms, Hanover-square, under the immediate Patronage of her Majesty. Part I.—Overture to Egmont, Beethoven. Duetto, “Fuggi, crudel,” Miss C. Novello and Signor Curioni; Mozart. Fantasia, Oboe, Mr. G. Cooke. Duetto buffo, “Mentre Francesco faceva il Brodo,” Signor De Begnis and Signor Guibilei; Coccia. Concerto, violin, Signor Masoni. Aria, “II Braccio mio conquise,” Madame Caradori Allan; Nicolini. Concertante, pianoforte and violin, M. Moscheles and Sig. Masoni; Moscheles and Lafont. Grand Quintetto, “Oh, guardate che accidente,” Madame Caradori Allan, Miss C. Novello, Signor Curioni, Signor Giubilei, and Signor De Begnis (Il Turco in Italia); Rossini. Part II.—Air, “There the briak sparkling,” Mr. Horncastle; Handel. Ballad, “Pale autumn flowers,” Madame Sala; J. Lodge. Duetto, “Con Pazienza,” Madame Caradori Allan and Signor De Begnis; Fioravanti. Air, with variations, violin, Signor Masoni; Lepinsky. Aria, “Yarico to her Lover,” Miss Woodyatt; Himmel. Terzetto, “Pappataci,” Signor Curioni, Signor Giubilei, and Signor De Begnis, (L’Italiana in Algieri); Rossini. Duetto, “Ah, maiden fair,” Miss Woodyatt and Mr. Horncastle; Paesiello. Overture to Euryanthe, C. M. Von Weber. Tickets, 10s. 6d. each, may be had of Signor Masoni, 7, Wilton-place, Belgrave-square; at the Hanover-square Rooms; and of all Musicsellers.
The Bell’s New Weekly Messenger (March 23, 1834): 141.
SIGNIOR MASONI’S CONCERT.—Signior [sic] Masoni made his debut proper, before an English audience, at the Hanover-square Concert-rooms, on Friday evening. There was a good attendance of rank, fashion, and science. The Signior appeared to give great general satisfaction.
The Athenæum (May 29, 1834): 243.
Signor Masoni’s Concert.—We were glad to see this gentleman’s Concert so much better attended than we had expected. He played three pieces: a concerto of his own, a concertante with Moscheles, (composed by the latter and Lafont,) and an air, “Non piu mesta,” with variations, by Lepinsky, a Polish composer, in which his execution was most daring; it wanted, however, a little finish. The more we hear him the more we are confirmed in our opinion of the false taste of his style:—that he can play quietly, was evident from the concertante which he performed with Moscheles; and we liked him so much better in this than the other pieces, (though a passage of thirds, in his concerto, deserves honourable mention en passant,) that we earnestly wish he could be induced to discard ornaments and trickery unworthy of the talent he possesses, and which will prevent his receiving the honours he deserves. There is but one Paganini in the world, and all imitators of his manner must become extravagant, and fail in producing an effect. Madame Caradori, Miss Clara Novello, Miss Woodyatt, Signors De Begnis and Giubilei, and Mr. Horncastle, were the singers engaged.
The Court Journal: Gazette of the Fashionable World, vol. 6, (March 29, 1834): 215.
THE appearance of any eminent instrumental performer is an object which never fails to excite a considerable degree of interest in the musical circles of London; and, consequently, the first concert given in this country, by Signor Masoni, attracted a fashionable audience to the Hanover Square Rooms, on Friday, the 21st instant. The programme presented a list of distinguished performers, vocal as well as instrumental; for Signor Masoni, had engaged every favourite singer at present in London. The chief attraction of the evening was, of course, the performance of Masoni himself, respecting which a more than ordinary degree of curiosity had been excited, by the very high reputation he has brought with him to England. This reputation has, it is true, come to us directly from quarters in which accuracy of critical judgment cannot fairly be looked for, and in which the opportunities for attaining excellence in art are necessarily limited. But it should be recollected that Masoni studied in the best schools of Italy, and that he was an accomplished violin performer before he quitted Europe in the suite of the late Empress of Brazil.* We have no hesitation in saying that Masoni’s performance, on Friday evening, was fully calculated to justify all the encomium that has been bestowed upon him, and must rank him in the very first class of violin players. His tone is one of the finest we ever heard, and approximates as closely as can be imagined to that of De Beriot. This, we conceive to be a merit to which not even Paganini has an equal claim; and the power of bringing from the instrument a delicate and mellifluous tone is unquestionably one of the nicest points of the violinist’s skill. Grace, expression, and accurate intonation are other important qualities in which Signor Masoni eminently excels. Of his power of executing what are usually understood by the term difficulties, such as runs chromatic and enharmonic, arpeggio—rapid leaps of immense intervals, &c. he gave abundant and satisfactory proofs. His harmonics are also remarkably fine. He performed three pieces in the course of the evening. The first, a concerto of his own composition, replete with elegance and beauty. The second, a Concertante for the violin and piano-forte, the joint composition of Moschelles and Lafont: in this, M. Moscheles took the piano-forte part, and the effect of the whole was admirable. Masoni’s third performance, which was his tour de force, consisted of some variations on Rossini’s air, ‘Non piu Mesta,’ by a Polish composer, named Lepinsky. This is a splendid composition, and Masoni may claim the merit of having introduced it to the acquaintance of the English public. It was listened to with rapturous admiration, and elicited a unanimous encore. Masoni, though evidently greatly fatigued by the exertion required for the execution of so long and difficult a piece, very readily repeated the latter and most admired portion of it. Of the rest of the concert we have only room to mention that there was some excellent singing by Madame Caradori, Miss Clara Novello, Miss Woodyatt, Signors de Begnis, Giubilei, and Mr Horncastle.
*The Austrian Arch-Duchess Leopoldine, who previously to her marriage with Don Pedro, was the widow of the Grand-Duke of Tuscany. The Arch-Duchess, like all the members of the Austrian Imperial family, was an accomplished musician, and Masoni was director of music at her Court, where German science and Italian taste were conjointly cultivated. We refer the reader to a memoir of Masoni, which appeared in late number of the Court Journal.
The Literary Gazette; and Journal of Belles Lettres, Arts, Sciences, &c. (May 29, 1834): 228.
ON the last Friday, Signor Masoni gave a charming concert at the Hanover Square Rooms, in which his own performances on the violin confirmed his high reputation. And on the Saturday, a most satisfactory exhibition of the musical attainments of the pupils in the Royal Academy of Music took place. We, too, may now assert we have a National School.
The Atlas (March 30, 1834): 1.
Signor Masoni’s Concert.
We have to reproach ourselves with something of a petulant criticism on Signor MASONI in our account of the first Philharmonic concert, and desire to make him reparation; for though a subsequent hearing has not altered our main objections to his style, we feel that he has some points of excellence which ought to plead for him against a cavalier dismissal from notice. Indeed, had PAGANINI played on his first appearance before the English public, a concerto of some one of the classical masters of the violin, and not one of his own compositions (as was the case with Signor MASONI at the Philharmonic, the society obliging him, as we understand, to that course) there can be no question but that the most extraordinary musical phenomenon of the age would have failed to the realize expectation.
Though we are far from instituting a serious comparison between these artists, there is something in both which equally removes them from the common herd of violinists—both seem to be in possession of many passages which are never attempted by other players, both exhibit great peculiarities of study, and both depend upon their own compositions to display themselves to complete advantage. The grand difference between PAGANINI and all other players consisted in the universality of his studies; he might truly be called “Legion,” for he was every other player, and himself besides. Not only could he do all that they could do, but more than any of them could imagine; and it became a task for the gravest musicians first to dissect his harmonies, and then to guess by what miraculous operation of hand he produced them. And whereas in most other players who write their own music, the things called violin concertos are commonly but strings of passages which the player has practiced and mastered in private, and afterwards puts together (often in a crude and disjointed manner enough) for the sake of exhibiting himself, PAGANINI uniformly preserves a coherency of thought, and a symmetry and connection of design in his concertos, and, in the boldest flights of the player, never forgets what belongs to the composer. If his music had no difficulties to astonish, it would still have an infinite deal to please. In the concerto in E flat of this master, the composition which he played on the first night of his appearance in the Haymarket, it is difficult to know which the most admire—whether the novel structure of the passages, or their appropriateness to their particular place in the composition.
MASONI, with perhaps the power to play more difficulties than any other artists except PAGANINI, whose adventurousness he emulates, has still, in our estimation, some grand defect, whether it consist in a want of taste or of a refined musical education. With all MASONI’S ability, a more ordinary artists gives more pleasure if he plays a well written composition with taste and certainty. The concerto which this performer executed at his benefit had certainly little or no merit as a composition, yet what he accomplished in it, if it bore the same relation to good music as it did to difficulty, ought to have produced him the highest honours of art. Rapid scales in double notes, of thirds and octaves, ascending and descending, brilliant arpeggios, long shakes, single and double, and sometimes accompanied by other notes—in short, all the sorcery of the violin was in some shape or other exhibited, but not pleasingly, because not united with that degree of taste and musical science to which the modern ear is accustomed by the habit of hearing new difficulties, leading to new and delightful effects. With the pianoforte composers, HUMMEL, MENDELSOHN, and MOSCHELES, this has been eminently the case, and so also with PAGANINI on the violin. What MASONI has still to accomplish is to render himself as fine a musician as he is in many respects a masterly violin player; and when he can turn his execution to good account by applying it to music worthy of the boldness of the difficulties which he attempts and vanquishes, he will take a station in the world of art, worthy of his great industry and uncommon powers. It, indeed, looks as if Italy were about to resume her old empire of the violin, when, before the astonishment at PAGANINI has subsided, an obscure artist of Genoa is again able to excite a general commotion. But to complete the conquest, and for the Italians to stand as of yore, the first masters on the violin of Europe, it will be necessary for them to imitate PAGANINI, and to avail themselves of German discoveries in harmony and instrumentation, and their new school will thus, perhaps be completely adapted to the advanced state of knowledge in the nineteenth century.
The most interesting performance of the evening to us, was a Concertante duet for the violin and pianoforte, played by Signor MASONI and Mr. MOSCHELES, and most especially on account of the pianoforte playing, which was one of the completest specimens of perfect mastery of the instrument and of fingers under delicate control that we ever heard. It is not possible to conceive of execution brought to a higher state of perfection than that of Mr. MOSCHELES; it enables him to sit down to difficulties of any complexity with the most enviable coolness, in fact, without any more concern or apprehension than a mechanic sets about his most ordinary work. This is the state to do well in, if a performer can but once acquire such desirable certainty and self-reliance. The subject of this Concertante was curious, inasmuch as it combined two of the most dissimilar airs, Di piacer, and GLUCK’S minute in Iphigenia, both of which require considerable skill and tact to treat at once popularly and well. The composition, as far as Mr. MOSCHELES was concerned, was highly ingenious and out of the common tracts of thought. GLUCK’S slow and expressive air received a number of florid and very cleverly constructed variations, and even a phrase or two was found in ROSSINI’S melody for treatment—and appeared, of all places in the world, in the bass—the more to the credit of the musician who could imagine its entrance there. The brilliant passage of octaves in both hands with which the piece concluded, reminded us of MENDELSOHN’S cadence last year to MOZART’S concerto in D minor at the Philharmonic concert. It was something truly extraordinary; if KALKBRENNER, whom there is just now so much curiosity to hear, can surpass this, he must be a wonder indeed. We shall be well satisfied with him, if he prove only in firmness, rapidity, and distinctness, the rival of MOSCHELES.