23 April 1827

 Fifth Philharmonic Society Concert 

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

Subscription Concert: 4 Guineas

 

Programme

Part I
Symphony No.1 in D major		Haydn
From Semiramide: Terzettino, ‘L’usato ardir’	Mesdames Caradori-Allan, Cornega, Signor Galli	Rossini
Violin Concerto	Mr. Kiesewetter	Mayseder
From Le nozze di Figaro: Aria, ‘Non più andrai’	Signor Galli	Mozart
Overture (MS)		J. Goss
Part II
Symphony No.7 in A major		Beethoven
Aria, ‘Ah! che forse’	Mme Caradori-Allan	Bonfichi
Piano Concerto No.4 in E flat major	Mr. Moscheles	Moscheles
Quartet, ‘L’inverno’	Mesdames Caradori-Allan, Cornega; Mr. Begrez, Signor Galli	Gomis
Overture, Jubilee		Weber

Principal Vocalists: Mesdames Caradori-Allan, Cornega; Mr. Begrez, Signor Galli

Principal Instrumentalists: Messrs. Kiesewetter, Moscheles

Leader: Mr. John Loder; Conductor: Mr. Cipriani Potter

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Salary: £10.10 for one rehearsal and one performance.

[GB-Lbl RPS MS 299, f15 v.]

Moscheles: ‚…ich mein Es-dur-Concert mit Begeisterung, und wurde gut aufgenommen‘.

AML I, 176.

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Philharmonic Society Programme

UNDER THE IMMEDIATE PATRONAGE OF

His Majesty.

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PHILHARMONIC SOCIETY.

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FIFTH CONCERT, MONDAY, APRIL 23, 1827.

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ACT I.

Sinfonia, No. 1         –            –             –             –           –             –            –	Haydn.
Terzettino, “L’usato ardir,” Madame CARADORI ALLAN, Madame
CORNEGA, and Signor GALLI (Semiramide)	Rossini.
Concerto Violin, Mr KIESEWETTER                –          –            –            –	Mayseder.
Aria, Signor GALLI, “Non piu andrai,” (Le Nozze di Figaro)                 –	Mozart.
Overture, MS.           –             –             –            –            –           –            –	Goss.

ACT II.

Sinfonia, No. 7         –             –             –            –            –           –             –	Beethoven.
Aria, Madame CARADORI ALLAN, “Ah! che forse”              –             –	Bonfichi.
Concerto Piano-forte in E flat, Mr MOSCHELES	Moscheles.
Quartetto, L’Inverno,” Madame CARADORI ALLAN, Madame CORNEGA,
Mr BEGREZ, and Signor GALLI   –            –            –           –             –	Gomis.
Jubilee Overture             –            –            –            –            –         –           –	C.M.Von Weber
Leader, Mr LODER.—Conductor, Mr POTTER.

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To commence at Eight o’Clock precisely.

The subscribers are most earnestly entreated to observe, that the Tickets are not transferable,

and that any violation of this rule will incur a total forfeiture of the subscription.

It is requested that the Coachmen may be directed to set down and take up with their 

horses’ heads towards Piccadilly.

The next Concert will be on Monday the 7th of May.

The door in Little Argyll-street will be open after the Concert for the egress of the Company.

Reviews

The Quarterly Musical Magazine and Review, vol. 9 (July 1827): 75-76.

FIFTH CONCERT, Monday, April 23, 1827.

ACT I.

Sinfonia, No. 1.	Haydn.
Terzettino, “L’usato ardir,” Madame Caradori, Madame
Cornega, and Signor Galli, (Semiramide.)	Rossini.
Concerto Violin, Mr. Kiesewetter.	Mayseder.
Aria, Signor Galli, “Non piu andrai,” (Le Nozze di Figaro.)	Mozart.
Overture, MS.	Goss.

ACT II.

Sinfonia, No. 7.	Beethoven.
Aria, Madame Caradori, “Ah! che forse.”	Bonfichi.
Concerto Piano Forte in E flat, Mr. Moscheles.	Moscheles.
Quartetto, “L’Inverno,” Madame Caradori, Madame Cor-
nega, Mr. Begrez, and Signor Galli.	Gomis.
Jubilee Overture                                                            C. M. Von Weber.
Leader, Mr. Loder.—Conductor, Mr. Potter.

The Quarterly Musical Magazine and Review, vol. 9 (July 1827): 78.

At the fifth, a M. S. overture by Mr. Goss was performed, and with great effect. Mr. G. is well studied in harmony, and possesses fine fancy, and a considerable knowledge of the powers of an orchestra. On this evening Mr. Kiesewetter and Mr. Moscheles each played a concerto; the latter was a powerful composition, not less powerfully executed. The more we hear this pianist the richer it appears to us his talent grows. The brilliancy and certainty of his touch, his fine conception, and his knowledge of what he can always perform, keeps the mind perpetually on the stretch, yet never disappoints expectation.—

“Que veux tu sonate?” could never have been asked even by the dullest hearer of Mr. Moscheles.

The Morning Post (April 25, 1827): 3.

MUSICAL.

The Fifth Philharmonic Concert, on Monday last, opened with HAYDN’S Sinfonia, No. 1 of his grand twelve. It was universally admired. The female part of the audience, especially, appeared quite at home, from the circumstance of having strummed it on the pianoforte in the course of their musical education. What a pity it is, the dear creatures cannot play “Ponticello” in the middle movement, the effect of the violins at the part not only astonished them but ultimately excited them to laughter. “What instrument is that, Pa?” exclaimed a young Lady who sat near us, “how pretty it sounds!” In the Italian orchestras this Ponticello is played with strict observance whenever it is marked, and produces a good effect.*

An Overture MS. By Goss, organist at the new church, Chelsea, and an élevé of ATTWOOD was much and deservedly applauded. It was rather too long, but as a first essai quite pardonable. We hope that the success it met with ill induce the author to let us hear something else. It always gives us much pleasure to hear a classical production from the pen of an Englishman. It is true, that such compositions do not pay in a pecuniary sense, but the true feelings of an artist ought to spur him on to something more honourable thas mere pecuniary considerations, in an ambition to rank with the more eminent men in this profession. Goss has, in our estimation, talents of a very high order, and deserves great praise for assiduity and perseverance, we should have preferred the Author at the pianoforte, to any one else, and he then, personally, would have received the plaudits of his brother professors. One of the greatest disadvantages which we labour under in England is, the rarity of seeing the author of classical music preside; a hundred faults, and doubtful suggestions which daily occur at rehearsal, as to the time, &c. would be removed by the authority of the composer. We shall never forget the anxious appearance of the performers when WEBER presided at one of these Concerts.—it gave an additional charm to the music. The second Act begin with BEETHOVEN’S Sinfonia in A. It has never been played elsewhere than at these Concerts. The middle movement which, to say nothing of the excellence of the rest, would immortalize any musician, opens with a burst of wind instruments, and is immediately succeeded by a plain “canto-fermo” in A minor by the violas and violincellos [sic], accompanied with a plain “contra-punto” by the double basses—then vice versa, the double basses take the C. fermo, and the others play a figurative C. punto sostenuto ; the beauty of this new melody, together with bewailing tones of the first string of the violincellos [sic], rather affected our nerves (in remembrance of the departed author, who always spoke of these Concerts with great admiration). The C. fermo had nearly escaped our attention in this stage of the movement until the second violin took it up, and then, about the 50th bar, the first violins begin the same C. fermo pianis. the wind instruments creep in “cres poco a poco,” until the giantic [sic] resources of the great Musician. Having thus wrought composition from the first species of C punto to a specie entirely his own, and far beyond the imaginations of any other—after having emerged gradually from simplicity to the extreme of majesty and sublimity, he as gradually forsakes the original subject, and leads into a most enchanting morceau in A major. This is succeeded by a fugue, steadily led off by the second violins pianis, cres. &c. and so on, until the movement closes with a burst of wind instruments with a chord of six faux on the dominant of the key, it was admirably played through-out, and was unanimously encored. What would the Ancient Concert audience think of this elaborate composition? KEISEWETTER played a Concerto of MAYSEDER’s with his usual skill; and MOSCHELES’ performance on the pianoforte was perfectly “unique.” We wonder MOSCHELES does not write a Sinfonia. The Musical Trinity, HAYDN, MOZART and BEETHOVEN, are no more; and we shall eagerly look out for the next aspirant to classical fame. 

Some of his MAJESTY’s very loyal amateurs, when CARADORI, CORNEGA, and Signor GALLI were about singing a trio, lustily called out for God save the King, in honour of St. George’s Day. CARADORI sung one verse admirably, and then looked at GALLI, then at CORNEGA, soliciting their assistance, but it was quite Greek to them ; the Band went on, and some good natured fellow prompted the second verse for CARADORI, and she got through pretty well, and thus ended the national Anthem. The “vrai connoiseurs” not lacking feelings of royalty, were well aware that the national Air would be given, as forming the last strain of WEBER’s Jubilee Overture ; at the end of the second Act, therefore, they patiently enjoyed the confusion, and were exceedingly delighted with the masterly manner in which WEBER has interwoven the melody, amidst brilliant and difficult passages for the violin, &c. Altogether this Overture is too noisy for a Concert Room, and we supposed it was selected for the above occasion. The Band played all the Pieces with great precision, and was ably led by LODER, of Bath. C. POTTER conduced. The Vocal Pieces were well sung, and with the exception of a “Quartetto,” “L’inverno,” by a Mr. GOMIS, all well known. We grew weary at the time this composition was sung, and though it out of place; the first movement is clever, but the second was entirely out of the compass of GALLI, BEGREZ and CORNEGA; and Madame CARADORI had the satisfaction of eliciting much applause by her exquisite manner of singing it quite perfect.

*In the duetto between Fernando and Ninetta, the first act of “La Gazza Ladra,” the fear of the Padre being discovered as a deserter, and the approach of the Podesta at so critical a moment—both characters are distinctly kept up in the music, the one by the use of the “Ponticello tremulando,” the other by the wind instruments playing pianis and cres. a “motive in perspettiva,” [sic] so called by the Italians when used to introduce a new character in apposition. 

The Literary Gazette: and Journal of Belles Lettres, Arts, Sciences, &.c (April 28, 1827): 268.

MUSIC.

PHILHARMONIC CONCERT.

THE concert of the Philharmonic on Monday last was distinguished by novelty and talent. The orchestra, under the able direction of Mr. Loder and Mr. Potter, left, as usual, little room either for praise or censure. The pieces that fell to its share were Haydn’s symphony No. 1—Beethoven’s, No. 7, as MS. Overture by Mr. Goss, and Weber’s jubilee overture. Passing over what has been heard so often before, we feel it our duty to congratulate Mr. Goss on his new overture, and on the applause he obtained by its performance. The fund of original ideas, which some hearers fancied they discovered in the composition, did not strike us; but there is a certain character kept up throughout the whole, which proves that it was not merely compiled; and by it, Mr. Goss, a pupil of Mr. Attwood, and still a young man, has certainly raised considerable expectations. Mayseder’s violin concerto, by Mr. Kiesewetter, and Mr. Moscheles’s pianoforte concerto, played by himself, were executed in a masterly manner, and attracted the highest attention. The vocal pieces, owing to the exertion of Mde. Caradori, Mr. Begrez, and particularly of Galli, also went off exceedingly well; and a vocal quartetto of a young Spanish composer, Gomis, on whom we learn that great hopes are founded, gave much satisfaction. He seems to imitate Rossini. 

The Harmonicon, vol. V (May 1827): 100.

FIFTH CONCERT, Monday, April 23, 1827.

ACT I.

Sinfonia, No. 1.	HAYDN.
Terzettino, “L’usato ardir,” Madame Caradori, Ma-
dame Cornega, and Signor Galli, (Semiramide.)	ROSSINI.
Concerto Violin, Mr. Kiesewetter.	MAYSEDER.
Aria, Signor Galli, “Non piu andrai,” (Le Nozze	MOZART.
di Figaro.)
Overture, MS.	GOSS.

ACT II.

Sinfonia, No. 7.	BEETHOVEN.
Aria, Madame Caradori, “Ah! che forse.”	BONFICHI.
Concerto Piano-forte in E flat, Mr. Moscheles.	MOSCHELES.
Quartetto, “L’Inverno,” Madame Caradori, Madame
Cornega, Mr. Begrez, and Signor Galli.	GOMIS.
Jubilee Overture                                                              C. M. VON WEBER.
Leader, Mr. Loder.—Conductor, Mr. Potter.

The first symphony of HAYDN is one of the twelve Grand, composed for Mr. Salomon; a beautiful composition, and which, having had a little repose, is now come out again with a degree of freshness. The charm of BEETHOVEN’S symphony is the middle movement in A minor*: of the rest, and there is an almost endless quantity of it, we have frequently given an unfavourable opinion. The MS. overture, by Mr. Goss, was composed for this society some three or four years ago; tried at a rehearsal, and unanimously approved: yet, from one of those causes which are not always apparent, has been kept back till the present season. This composition, which does honour to the English school of music, is in F minor; and though written quite in the modern fashion, therefore abundantly loud, is full of the most undeniable proofs of the author’s skill, and shews that his genius wants nothing but encouragement. The Jubilee overture, selected on account of God save the King forming a part of it, (the King’s birth-day being kept on the 23rd of April) was splendidly performed.

M. KIESEWTETER [sic] shone with great brilliancy in his concerto, a kind of pasticcio from different pieces by MAYSEDER. M. MOSCHELES performed a very fine concerto in a surprising manner. His creative genius appeared in every page of it; and the last movement, so perfectly original in all its parts, so eccentric, playful, and pleasing, delighted no less than it astonished.

The terzettino of ROSSINI was not so successful as the quartet by GOMIS. This last is one of the prettiest things of the kind we ever listened to. The solos would perhaps be more effective if distributed among all the parts; but the whole is otherwise so light, so airy, that it was relished by all tastes: and, moreover, being extremely gay, it was well placed; a matter of no little importance, and on which the result may much depend. The aria by BONFINCHI, a most difficult com position for the singer, was very neatly executed by Madame CARADORI, and warmly applauded. Sig. GALLI merited and obtained the same flattering notice for his performance of “Non piu and rai,” though he had to labour under a severe cold.

Concerning this singer, who, though long known in the theatres of Italy and Paris, is new to London, we refer the reader to our account of the King’s Theatre.

The Atlas (April 29, 1827): 268-269.

Philharmonic Society—Fifth Concert.

ACT I.—Sinfonia, No. 1—HAYDN. Terzettino, “L’usato ardir,” Madame CARADORI ALLAN, Madame CORNEGA, and Signor GALLI (Semiramide)—ROSSINI. Concerto Violin, Mr. KIESEWETTER—MAYSEDER. Aria, Signor GALLI, “Non piu andrai,” (Le Nozze di Figaro)—MOZART. Overture, MS.—Goss. 

ACT II.—Sinfonia, No. 7.—BEETHOVEN. Aria, Madame CARADORI ALLAN, “Ah! che forse”—BONFICHI. Concerto Piano-forte in E flat, Mr. MOSCHELES—MOSCHELES, Quartetto, “L’Inverno,” Madame CARADORI ALLAN, Madame CORNEGA, MR. BEGREZ, and Signor GALLI—Gomis. Jubilee Overture—C. M. Von Weber.

Leader, Mr. LODER. Conductor, Mr. POTTER.

A SINGLE glance at the contents of the preceding concert-bill will create a dubious augury in the minds of our readers as to the excellence of Monday’s performance. In truth, we have never had our patience more severely taxed; and our grievances may be marshalled in this order—firstly, that HAYDN’S Sinfonia was spoilt; secondly, that we were fated to endure two long, dreaming concertos; thirdly that we were disappointed of our usual violin quartet or quintet; fourthly, that where the vocal music was good it was marred in the singing, and where the singing was good it was marred by the music. We arraign Mr. LODER before our critical tribunal, as guilty of misguiding, misleading, and deluding the band, with regard to the time of HAYDN’S Sinfonia, not a single movement of which (with the exception of the short introductory one) did he appear to understand. This gentleman’s leading was characterized by a consistency in error, and a perseverance in misapprehension, which would have amused us had the music been other than HAYDN’S; but to hear the scrambling and confused Allegro, and the Adagio half as fast again as usual, the drawling Minuett and Trio, and the Finaleprestissimo, was somewhat too liberal an indulgence of mortification. No mistake can be more detrimental to the just performance of music, than that of beginning it too fast, (especially in the spirited parts of a sinfonia, where the performer’s feelings are apt to run away with them); and we therefore think that every leader at these concerts should well digest and arrange in his mind the times of the various movements, without deferring this consideration till the first stroke of the bow, and leaving the event to chance. We are of opinion that Mr. LODER deserves no higher post than a ripieno violin in the Philharmonic band; this performance is cold, dry, and mechanical, and nature does not seem to have infused into his composition those fiery particles and that enthusiasm which are essential to a great violinist. The Terzettino of ROSSINI is chiefly remarkable as a gross plagiarism from MOZART’S Quintetto in “Cosi fan tutti,” Di Scriver mi. Madame CARADORI was in excellent voice, but the compositions which she had to sing were contemptible; throughout the whole evening, not a single interesting bar fell to her share. Of KIESEWETTER’S Violin Concerto we cannot speak favourably: his intonation was throughout false, and the gesticulation which he uses in playing, appears to us extravagant and frenchy; we prefer what the pugilists would term a fair, stand-up player—one who grapples with the difficulties of his instrument without calling grimace to his aid. This seems a strange succedaneum for a musician—yet, to close observers of mean and things, not unfathomable; we sometimes see a bass singer, in striving for a low note, plunge his chin into his cravat, endeavouring to find that perfection in the imagination of his audience which Providence has denied to his powers; in this case the very desperation of the act engages all our sympathies, and leads us to accept the will for the deed. MOZART’S hacknied [sic] song “Non piu andrai,” was tolerably ill sung by Signor GALLI; the qualities of whose voice may be summed up in the words flat and coarse. Mr. GOSS’S MS. Overture in F minor pleased us; it is constructed on a natural and musician-like plan, and shows the author to possess the best qualifications for his art, a taste in melody, and a soul for harmony. BEETHOVEN’S Sinfonia, No. 7 in A, is (except the slow movement in A minor) to us a poor childish affair. The extremely beautiful and original Andante would however atone for more extraordinary puerilities than actually mark the irregular composition. this part of the Sinfonia was by universal desire repeated. The Concerto in E flat of Mr. MOSCHELES, is a composition less distinguished than usual for that ingenuity in orchestral management for which we have had to notice its author. As far as rapidity and equality of finger, correctness in leaping distances, a distinct and elastic touch, &c. are concerned, this gentlemen’s performance deserved the highest praise. In the core of our hearts we however nourish a hatred to the concerto style; which in general exhibits a succession of mere difficulties, totally devoid of interest, except that of curiosity to the listener. If these compositions depended upon our clemency for their existence, few would escape a bonfire as we hold wonderment to be but a vacant and stupid employment. We should like to hear Mr. MOSCHELES play this fugue of SEBASTIAN BACH, in preference to all the scampering, frisks, and curvets, of a modern concerto. The true end of gaining a masterly execution on any instrument, appears to us to be this, that the performer may be enabled to accomplish more than the most difficult piece of good music required of him. This prevents that effort on the part of the player, which annoys us where his [*] in [*], and [*] difficulties of the [*], [*] nearly on a par. The Quartetto by GOMIS consisted of a variety of movements, some of which made us laugh very heartily; but whether it was the original intention of the author to produce this effect, we cannot determine. One of WEBER’S worst and noisiest overtures concluded as bad a concert as we ever attended.