24 June 1822

Ignaz Moscheles’ Benefit Concert

London: New Argyll Rooms

Time: Evening

Tickets: 10s. 6d.

↓Programme

Fantasia Concertante on a Romance of Blangini for Voice, Piano, Violin, Harp	Mlle Cinti; Messrs. Moscheles, Kiesewetter, Dizi	Moscheles
Free Piano Fantasia, incl. ‘Auld Lang Syne’	Mr. Moscheles
Grand Piano Variations on a Military March with Orch. Accomp. (Alexander Variations)	Mr. Moscheles	Moscheles
Piano Concerto No.3 in G minor (MS)	Mr. Moscheles	Moscheles

Principal Vocalists: Miss Stephens, Mlle Cinti, Mme. Caradori, Mrs. Salmon, Signora Camporese; Messrs. Begrez, J. B. Sale, Sapio, Vaughan, W. Knyvett; Signor Zuchelli

Principal Instrumentalists: Messrs. Dizi, Kiesewetter, Moscheles

Leader: Mr. Franz Cramer; Conductor: Mr. Johann Baptist Cramer

———————————

Encore: Fantasia Concertante on a Romance ofBlangini for Voice, Piano, Violin, Harp—Mlle Cinti; Messrs. Moscheles, Kiesewetter, Dizi—Moscheles

Charlotte: Moscheles played his G minor concerto, which he had lately reconstructed, first at the Philharmonic, and afterwards at his own concert, with much applause. On the last occasion he was supported by the charming Cinti, Kiesewetter, and Dizi, the excellent harp-player. Everything went well and effectively together. [RMM, 44-45.]

Moscheles: We have, however… rehearsed here quite in a different manner from what people usually do, for, generally speaking, there is no rehearsal at all, often one half of the band runs once through the music. And what do the singers do? They sing incessantly the few things which the orchestra know, and which the public is never weary of hearing. [RMM, 45.]

The Morning Chronicle (May 17, 1822): 1.

MR. MOSCHELES has the honour to announce to the Nobility, Gentry, and the Public, that his CONCERT, under the patronage of his Serene Highness Prince Esterhazy, will take place at the NEW ARGYLL ROOMS, on Friday, June 14.[1]

[1] Moscheles did not perform on June 14. The advertisement was either a typographical error or the date of the concert was firstly set to June 14 and was changed later to June 24. Nonetheless, if that was the case there is not an advertisement to refer to the change of the concert date. It is more likely that the date was a misprint, especially since another error is found in The Morning Chronicle on June 17.

The Morning Post (June 6, 1822): 1.

John Bull (June 9, 1822): 617.

MR. MOSCHELES has the honour to announce to the Nobility, Gentry, and the Public, that his CONCERT under the patronage of his Serene Highness Prince ESTERHAZY, will take place at the NEW ARGYLL ROOMS, on MONDAY, the 24th inst.

John Bull (June 16, 1822): 625.

NEW ARGYLL ROOMS.

MR. MOSCHELES has the honour to announce that his CONCERT will take place at the above Rooms, on MONDAY, the 24th of JUNE. Principal Vocal Performers—Mrs. Salmon, Miss Stephens, Madame Camporese, Signora Caradori, and Signora Cinti, Mr. Vaughan, Signor Begrez, Mr. Sapio, Mr. W. Knyvett, Mr. J. B. Sale, and Signor Zuchelli. Principal Instrumental Performers—Mr. Kiesewetter, Mr. Dizi and Mr. Moscheles, who will perform, on the Grand Piano Forte, a New Concerto, the Fall of Paris, with Variations (by desire) and a Fantasia extempore. Leader of the Band, Mr. F. Cramer: Conductor, Mr. J. B. Cramer—Tickets, 10s. 6d. each, to be had of Mr. Moscheles, 343, Oxford-street, and at the principal Music Warehouses.

The Observer (June 16, 1822): 3.

NEW ARGYLL ROOMS.—Mr. MOSCHELES has the honour to announce, that his CONCERT will take place at the above Rooms, MONDAY, June 24, 1822. Principal Vocal Performers.—Mrs. Salmon, Miss Stephens, Madame Camporese; Signora Caradori and Signora Cinti, Mr. Vaughan, Signor Begrez, Mr. Sapio, Mr. W. Knyvett, Mr. J. B. Sale, and Signor Zuchelli. Principal Instrumental Performers—Mr. Kiesewetter, Mr. Dizi, Mr. Moscheles, who will perform on the Grand Piano Forte a new Concerto, the “Fall of Paris,” with Variations (by desire), and a Fantasia extempore. Leader of the Band, Mr. F. Cramer. Conductor, Mr. J. B. Cramer.—Tickets, 10s. 6d. each, to be had at Mr. Moscheles, 343, Oxford-street (opposite Portland-street), and at the principal Music Warehouses.

The Morning Post (June 17, 1822): 1.

NEW ARGYLL ROOMS.—Mr. MOSCHELES has the honour to announce that his CONCERT will take place at the above Rooms on MONDAY, June 24, 1822. Principal Vocal performers.—Mrs. Salmon, Miss Stephens, Madame Camporese; Signora Caradori and Signora Cinti; Mr. Vaughan, Signor Begrez, Mr. Sapio, Mr. W. Knyvett, Mr. J. B. Sale, and Signor Zuchelli. Principal instrumental performers—Mr. Kiesewetter, Mr. Dizi, Mr. Moscheles, who will perform on the Grand Piano Forte a new Concerto, “The fall of Paris,” with variations (by desire), and a Fantasia extempore. Leader of the Band, Mr. F. Cramer. Conductor, Mr. J. B. Cramer. Tickets, 10s. 6d. each, to be had at Mr. Moscheles, 343, Oxford-street. Opposite Portland-street, and at the principal Music Warehouses.

The Morning Chronicle (June 17, 1822): 1.

NEW ARGYLL ROOMS.—Mr. MOSCHELES has the honour to announce that his CONCERT will take place at the above Rooms on MONDAY next.—Principal Vocal Performers—Mrs. Salmon, Miss Stephens, Madame Camporese; Sig. Caradori and Signora Cinti; Mr. Vaughan, Sig. Begrez, Mr. Sapio, Mr. W. Knyvett, Mr. J. B. Sale, and Signor Zuchelli. Principal Instrumental Performers—Mr. Kiesewetter, Mr. Dizi, Mr. Moscheles, who will perform on the Grand Pianoforte a New Concerto, “The fall of Paris,” with Variations, by desire, and a Fantasia extempore.—Leader of the Band, Mr. J. B. Cramer,[2] Conductor, Mr. J. B. Cramer.—Tickets, 10s. 6d. each, to be had at Mr. Moscheles, 343, Oxford-street. Opposite Portland-street, and at the principal Music Warehouses.

[2] Typographical error.

The Morning Chronicle (June 19, 1822): 1.

[The advertisement from June 17 was published again with the same typographical error]

John Bull (June 23, 1822): 634.

NEW ARGYLL ROOMS.

MR. MOSCHELES has the honour to announce that his CONCERT will take place at the above Rooms, on MONDAY, the 24th of JUNE. Principal Vocal Performers–Mrs. Salmon, Miss Stephens, Madame Camporese, Signora Caradori, and Signora Cinti, Mr. Vaughan, Signor Begrez, Mr. Sapio, Mr. W. Knyvett, Mr. J. B. Sale, and Signor Zuchelli. Principal Instrumental Performers—Mr. Kiesewetter, Mr. Dizi and Mr. Moscheles, who will perform, on the Grand Piano Forte, a New Concerto, the Fall of Paris, with Variations (by desire) and a Fantasia extempore. Leader of the Band, Mr. F. Cramer: Conductor, Mr. J. B. Cramer—Tickets, 10s. 6d. each, to be had of Mr. Moscheles, 343, Oxford-street, and at the principal Music Warehouses.

The Morning Chronicle (June 24, 1822): 1.

NEW ARGYLL ROOMS.—Mr. MOSCHELES has the honour to announce that his CONCERT will take place at the above Rooms THIS EVENING.—Principal Vocal Performers—Mrs. Salmon, Miss Stephens, Madame Camporese; Sig. Caradori and Signora Cinti; Mr. Vaughan, Sig. Begrez, Mr. Sapio, Mr. W. Knyvett, Mr. J. B. Sale, and Signor Zuchelli. Principal Instrumental Performers—Mr. Kiesewetter, Mr. Dizi, Mr. Moscheles, who will perform on the Grand Pianoforte a New Concerto, “The fall of Paris,” with Variations, by desire, and a Fantasia extempore.—Leader of the Band, Mr. J. B. Cramer,[3] Conductor, Mr. J. B. Cramer.—Tickets, 10s. 6d. each, to be had at Mr. Moscheles, 343, Oxford-street. Opposite Portland-street, and at the principal Music Warehouses.

[3] Typographical error repeated for the 3^rd time.

The Times (June 24, 1822): 2.

NEW ARGYLL ROOMS.—Mr. MOSCHELES has the honour to announce that his CONCERT will take place at the above Rooms THIS EVENING, June 24. Principal Vocal performers, Mrs. Salmon, Miss Stephens, Madame Camporese, Signora Caradori, and Signora Cinti, Mr. Vaughan, Sig. Begrez, Mr. Sapio, Mr. W. Knyvett, Mr. J. B. Sale, and Signor Zuchelli. Principal Instrumental performers. Mr. Kiesewetter, Mr. Dizi, and Mr. Moscheles, who will perform on the grand pianoforte a New Concerto, ‘the fall of Paris,’ with variations (by desire,) and a fantasia extempore. Leader of the band Mr. F Cramer. Conductor Mr. J. B. Cramer. Tickets, 10s. 6d. each, to be had at Mr. Moscheles, 343, Oxford-street, opposite Portland-street, and at the principal music warehouses.

Reviews

The Morning Post (June 26, 1822): 3.

NEW ARGYLL ROOMS.—The various talent and surprising powers of MOSCHELLES were displayed at his Concert on Monday night with an effect which called forth the most enthusiastic applause, and added fresh honours to those he had already so universally obtained. We have spoken on a former occasion of his Concerto, which he again performed with increased eclat. His variations on the “Fall of Paris” were the ne plus ultra of brilliancy and fine execution. The Fantasia Concertante for voice, piano-forte, violin and harp, so enraptured the audience, that it was unanimously encored. His last performance was an extemporaneous fantasia, which combined the most profound science with all that grace, imagination, taste, and genius could bring to its aid. The execution of four pieces in one concert, and all with such undiminished perfection and fire, was certainly one of the most extraordinary efforts we have ever witnessed.

Allgemeine musikalische Zeitung (August 3, 1822): 493-494.

London.

Herr Moscheles von Wien, einer der berühmtesten Fortepianospieler unserer Zeit, gab am 24. Juny unter der Protection Sr. Durchl. des Herrn Fürsten Esterhazy, in den Argyll – Sälen ein Concert, welches von einem gewählten und sehr zahl reichen Publicum besucht, und worin demselben mit vielen Beyfallsbezeigungen die öffentliche Achtung vor seinem schönen Spiele eclatant zu erkennen gegeben wurde.

Was diesen Abend nur aufgeführt wurde, zeichzete sich durch eine grosse Präcision und Rundung im Vortrag aus, und in der That strengte jeder der Instrumentalisten sowohl, als der Sänger seine höchste Kraft und Kunst an, um diesen Abend zu einer Unterhaltung im Kunstgebiethe vom ersten Range zu machen.

Herr Moscheles spielte ein Concert und Variationen von seiner eigenen Composition in einem so meisterlichen Style, dass der allgemeine und enthusiastische Beyfall wirklich seinen Ruf als Tonkünstler sehr vermehrte. Hierauf folgte eine Concertante Phantasie für Gesang, Pianoforte, Violin und Harfe, welche von der Sgra. Cinti, Herrn Moscheles, Herrn Dizzi und den unübertrefflichen Violinisten Herrn Kiesewetter vorgetragen und zwar mit solcher Vollendung executirt wurde, dass man stürmisch ihre Wiederhohlung verlangte. Der Fall von Paris und sein letztes Stück eine extemporirte Phantasie, vereinigten Kunst, Grazie, Einbildungskraft, und waren Producte genialer Schöpferkraft.

Anmerkung. Von welchem Meister die Phantasie war, davon wird in dem Berichte nichts gemeldet.

D. R.

The Quarterly Musical Magazine and Review, vol. IV (1822): 295-298.

TO THE EDITOR.

SIR,

It is unquestionably true that without a disposition, irresistibly impelled by nature and cultivated by unremitted industry, nothing of striking excellence can be produced in the fine arts; but it is equally true that without the energy which is excited by emulation, some of the finest efforts of human ability would never have been made. It is a sufficient gratification to ambition for the most part to have gained an ascendancy over the obstacles within the immediate sphere of its own action, and when that point is attained, a diminution of vigour too often follows, which is barely capable of maintaining an even line of progression. There is some danger too lest the satisfaction arising from imagined strength should lower exertion by imperceptible degrees, until it reach that point where the attraction of indolence becomes too powerful for the spirit ever more to make a successful struggle against it. But, on the other hand, let a man, whilst his faculties are yet strong, be placed in competition with others of equal talent with himself, and he at once feels a stimulus which not only enables him to maintain the eminence he has acquired, but gives a wing to his imagination that produces a bolder flight than his unopposed daring would ever have taken. I have been led into these remarks by observations scattered over the surface of several papers in your Review, and by the exemplification of their truth in the effect produced by the second visit of MR. MOSCHELES to this country. His own talent has been manifestly improved from his having come amongst us, and in addition to the delight which the novelty, beauty, and excellence of his performance have produced, I am persuaded that an impetus has been given to the great talent resident amongst us, which has not only already called forth abilities which might otherwise have lain quiescent, but put such powers into activity as promise excellences of still greater importance. You have already noticed this, and I have no doubt you will have the gratifying task of still continuing to do so in the progress of the musical art during succeeding seasons. The pleasure which resulted to the public from the joint performances of MR. CRAMER and MR. MOSCHELES cannot easily be forgotten, and the astonishing powers displayed by MR. KALKBRENNER at the concert of SPAGNOLETTI filled all who had the advantage of hearing him with admiration. This brilliant performance without doubt operated upon the aspiring mind of MR. MOSCHELES, and called forth the full display of his talents at his own benefit concert. In the course of the evening he executed four pieces equally admirable, as they were different in character (one of which was universally encored) and all with unabated vigour, vivacity of feeling, and splendour of effect. It is thus that a generous conflict of talent elicits the noblest efforts of art, and I cannot but commiserate the confined views of those who, under a false notion that national genius is injured and depressed by the patronage of foreigners, would deprive their country and their art of the great advantages to be derived from the acquisition of continental excellence. It is from comparison alone that a just conception can be formed of whatever is true in taste and sound in judgment, and whoever would deprive himself of the opportunity of obtaining so desirable a means of improvement, shews himself destitute of that feeling and clearness of perception which is capable of rendering him a lasting ornament to his profession. Never let it be believed that national worth will ever want its proper appreciation, for wherever a preponderance of talent exists, public opinion will give it its due influence; and a strong proof that this country contains a fund of good taste and correct judgment for the purpose, is, the confession of the most able foreigners, that there is no city in Europe where an artist is so soon placed in the situation to which his talents entitle him, as in London. False glitter may for a moment confound our opinion, but it is quickly stripped of its deception, and the public infallibly returns to solid ability with renewed and increased homage. Insulated as we are, we need the presence of foreign skill to make us conscious of our national prejudices, and it would be folly to deny the immense profit we have derived from it. The inhabitants of the continent come to us to learn large and comprehensive views of political freedom, to which the mind of the country has been almost exclusively directed; but it must be confessed, that we are indebted to the continent for having disencumbered our faculties of the circumscribed views with which we were long accustomed to contemplate the arts. Whenever men have started up amongst us, capable of honourably contending with our instructors, their progress has been marked with as great fame abroad as in their own country; and at this moment, when there is so great a competition in that department of music to which these remarks more immediately relate, I may point out our country man FIELD, who holds a reputation throughout the continent, of such high distinction, as to set national comparisons at defiance. We have others in different branches of the arts as well as in this, who might make the boldest claims on fame were their abilities displayed on a more extensive stage; and it is only by frequent encounters with foreign excellence that we shall ultimately shake off the restraint not unjustly attributed to us, and shew the world that we are capable of as great prowess in all the arts as we have proved ourselves to be in science and in arms. To these observations I shall simply subjoin the pieces which MR. MOSCHELES played at his concert, for it is impossible for me to convey an adequate idea of the impression made upon my mind and apparently on that of the whole audience, by the wonderful and fanciful execution, exquisite delicacy, taste, boldness, and originality of style with which this inimitable master performed them.

A new Manuscript Concerto.

The Fall of Paris, with Variations.

A new Fantasia, on a favourite Romance of Blangini, for Voice,

&c. &c. This Fantasia was encored.

A Fantasia extempore.

Do not imagine, Sir, that I am the partial advocate of individuals—I contend only for principles, and I hold it palpably absurd to maintain that foreigners have risen to the station they enjoy, not by their merits, but by favouritism. I quite agree with your correspondent VETUS,* in the practicability there appears of English professors rising to equal eminence with those of foreign growth, and I admit his instances; but at the same time who does not see the acknowledged excellence of foreign performers in almost every branch of the profession? Take those I have named, and add KEISEWETTER, DRAGONETTI, PUZZI, BOCHSA, and numberless others, whose talents have raised them to the first rank, and why should not they enjoy their deserts? Can we produce four such artists as those I have just named? Is then our general knowledge and estimation of proficiency in art to be stooped to a prejudice?— certainly not. Are our orchestras to be lowered in order to give unqualified natives an unearned precedence? Is the public to shew less deference and respect to such abilities because they happen to belong to a German, an Italian, or a Frenchman? Liberality and good sense forbid! I am for no restrictive duties—but for the fairest competition. Quality and cheapness are what a nation ought alone to regard, and these properties are only to be obtained by the most open competition. All other principles are alike foolish and fallacious. Stimulate our countrymen to try their powers—but, for the sake of all the acquisitions to which perseverance and ability aspire, do not encourage indolence by any exclusive privileges indulged to birth-place. “Genius is of no country.”

I am, Sir, your’s, &c.

FAIR PLAY.

Allgemeine musikalische Zeitung mit besonderer Rücksicht auf den österreichischen Kaiserstaat (August 3, 1822): 493-494.

London.

Herr Moscheles von Wien, einer der berühmtesten Fortepianospieler unserer Zeit, gab am 24. Juny unter der Protection Sr. Durchl. des Herrn Fürsten Esterhazy, in den Argyll-Sälen ein Concert, welches von einem gewählten und sehr zahl reicher Publicum besucht, und worin demselben mit vielen Beyfallsbezeigungen die öffentliche Achtung vor seinem schönen Spiele eclatant zu erkennen gegeben wurde.

Was diesen Abend nur aufgeführt wurde, zeichnete sich durch eine grosse Präcision und Rundung im Vortrag aus, und in der That strengte jeder der Instrumentalisten sowohl, als der Sänger seine höchste Kraft und Kunst an, um diesen Abend zu einer Unterhaltung im Kunstgebiethe vom ersten Range zu machen.

Herr Moscheles spielte ein Concert und Variationen von seiner eigenen Composition in einem so meisterlichen Style, dass der allgemeine und enthusiastische Beyfall wirklich seinen Ruf als Tonkünstler sehr vermehrte. Hierauf folgte eine Concertante Phantasie für Gesang, Pianoforte, Violin und Harfe, welche von der Sgra. Cinti, Herrn Moscheles, Herrn Dizzi und den unübertrefflichen Violinisten Herrn Kiesewetter vorgetragen und zwar mit solcher Vollendung executirt wurde, dass man stürmisch ihre Wiederholung verlangte. Der Fall von Paris und sein letztes Stück eine extemporirte Phantasie, vereinigten Kunst, Grazie, Einbildungskraft, und waren Producte genialer Schöpferkraft.

Anmerkung. Von welchem Meister die Phantasie war, davon wird in dem Berichte nichts gemeldet.

D. R.

The London Magazine, vol. 6, (August 1822): 183-184.

Since our last there have been three Concerts of the first class, one for the benefit of Mr. Moschelles, the second for Mr. Lafont, and the third given by Madame Catalani for the distressed Irish, the relief of persons confined for small debts, and some other charitable institution. Mr. Moschelles is already well known to our readers as a pianoforte player of the very finest accomplishments—he combines, in a very eminent degree, brilliancy with expression, and is surpassed by no existing performer in force and effect. On this occasion he played three pieces in one of which The Fall of Paris was the subject, and an extempore Fantasia, in which he introduced the air of Auld Lang Syne. These compositions were popular as well as scientific, and displayed his great qualities in their most attractive attire, his concerto, which was more scientific, seemed rather designed for the professor than for a general audience, and was not therefore so effective as the others.

Allgemeine musikalische Zeitung (September 18, 1822): 623-624.

[London, 19 July] Hr. Moscheles spielte im letzten philharmonischen Concerte ein noch ungedrucktes Concert von seiner eigenen Composition mit vielem Beyfall und liess sich auch in… seinem eigenen Benefice Concerte…mit gleichem Erfolg hören.