26 January 1828

Ignaz Moscheles’ Morning Concert

Edinburgh: Assembly Rooms

Time: Morning, One o’Clock

Tickets: 5s



Part I  
Overture Mozart
Piano Concerto No.2 in E flat majorMr. MoschelesMoscheles
From Tancredi  
Recit., ‘Tu che accendi questo core’
Aria, ‘Di tanti palpiti’
Miss E. PatonRossini
A selection of published and unpublished StudiesMr. MoschelesMoscheles
Cavatina, ‘I’ve been roaming’Miss E. PatonC. Horn
Fantasia Concertante on a Romance of Blangini for Voice, Piano, Flute, HarpMiss E. Paton, Mr. Moscheles, Miss Yaniewicz, Mr. PlattMoscheles
Part II  
Overture Beethoven
Aria, ‘Il braccio mio conquise’Miss E. PatonNiccolini
Grand Piano Variations on a Military March with Orch. Accomp. (Alexander Variations)Mr. MoschelesMoscheles
Song, ‘Gloomy Winter’s now awa’ ’ (by desire)Miss E. Paton 
Free Piano Fantasia, incl. ‘Pibroch of Donald Dhu’Mr. Moscheles 
Principal Vocalists: Miss E. Paton
Principal Instrumentalists: Miss Yaniewicz; Messrs. Moscheles, Platt
Leader: Mr. James Dewar; Conductor:  Mr. Hargitt, jun.


Charlotte: …the two next [the previous concert on January 8, and this concert] concerts were filled to overflowing. [RMM, 135.]

Moscheles: After our visit, Sir Walter was unfortunately confined to his bed with a fresh attack of gout; he got better, however, and on the occasion of my third concert, which was a matinee, to the surprise of a crowded and fashionable audience, Sir Walter stepped into the room before the music began. My wife…sat as usual in a remote corner of the room; Scott, however, found her out instantly, and sat down by her side, drawing upon her the envious eyes of many a fair beholder. His hearty bravos and cheers, when I played, stimulated the audience to redouble their applause, which reached a climax when I gave them the Scotch airs. Between the parts he asked my wife if she knew Bürger’s poem ‘Der Dichter liebt den guten Wein’, and, on her answering in the affirmative, he told her how he delighted in this poem, which he had translated into English, adding, “Would you like to have it? I shall send it you”. She begged him to recite the song in the original; this, to my wife’s great delight, he willingly assented to, while all around listened eagerly. [RMM, 137.]


Caledonian Mercury (January 21, 1828): 1.




HAS the honour to announce, that having been requested by several Families of distinction, to perform once more before leaving Edinburgh, he will give a


On SATURDAY next, the 26th inst.

The particulars of which will be specified in the bills.

Tickets 5s, each, bot be had at the principal Music Warehouses.

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



HAS the honour to announce, that having been requested by several families of distinction, to perform once more before leaving Edinburgh, he will give a


On Saturday next, the 26th inst., the particulars of which will be specified in the bills.

Tickets 5s, each, bot be had at the principal Music Warehouses.

The Scotsman (January 23, 1828): 4.


MR MOSCHELES has the honour to announce, that, having been requested by several Families of distinction, to perform once more before leaving Edinburgh, he will give a


On Saturday next, the 26h inst. at One o’clock,

When he will perform

1st. CONCERTO (E major) in which is introduced

the British Grenadier’s March.

2d. A Selection of his published and unpublished

Studies in various Styles.

3d. (By particular desire) the VARIATIONS on

the FALL of PARIS.


on the Grand Piano-forte.


Will sing several of her next favourite Songs.

Leader, Mr J. Dewar.

Conductor, Mr. Hargitt, Jun.

Tickets, 5s. each, to be had at the principal Music


Caledonian Mercury (January 24, 1828): 1.





HAS the honour to announce, that, having been requested by several Families of distinction, to perform once more before leaving Edinburgh, he will give a


On SATURDAY next, the 26th inst. at one o’clock P.M.




Concerto (E major) in which is introduced the British Gre-

nadiers’ March, Grand Piano Forte, Mr MOSCHELES—


Recitativo ed Aria, Miss E. PATON, “Di tanti palpiti”—


A Selection of published and unpublished STUDIES, in va-

rious Styles, Grand Piano Forte, Mr MOSCHELES—


Song, Miss E. Paton, “I’ve been roaming”—Horn.

Concertante, for Voice, Piano Forte, Harp, and Flute,

founded on a favourite Romance of Blangini, Miss E.


Mr PLATT—Moscheles.



Aria, Miss E. Paton, “Il braccio mio”—Niccolini.

(By particular desire) the Variations on “The Fall of Paris,”

Grand Piano Forte, Mr MOSCHELES—Moscheles.

Song, Miss E. PATON, “Gloomy Winter,” (by desire.)



Leader, Mr J. DEWAS.

Conductor, Mr HARGITT, Jun.

Tickets, 5s. each, to be had at the principal Music Ware-

houses, and at the Assembly Rooms.

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


MR MOSCHELES, (Professor of the Royal Academy of Music), has the honour to announce, that. having been requested by several Families of distinction, to perform once more before leaving Edinburgh; he will give a


On SATURDAY next, the 26th inst. at one o’clock P.M.


Concerto (E. Major, in which is introduced 
     The British Grenadiers March, Grand Pi- 
     ano-Forte, Mr Moscheles.           .         .Moscheles:
Recitativo ed aria, Miss E, Paton, “Di tanti 
     palpiti,”         .           .            .            .Rossini:
A selection of published and unpublished 
     Studies, in various styles, Grand Piano- 
     Forte, Mr Moscheles.            .              .Moscheles:
Song, Miss E. Paton, “I’ve been roam- 
    ing,”      .           .           .            .          .Horn:
Concertante, for Voice, Piano-Forte, Harp, 
     and Flute, founded on a favourite Ro-  
     mance of Blangini, Miss E. Paton, Mr 
     Moscheles, Miss Pauline Yaniewicz, and 
     Mr Platt,           .             .               .Moscheles:


Aria, Miss E. Paton, “Il braccio mio.”Niccolini.
(By particular desire), The Variations on the 
     Fall of Paris, Grand Piano-Forte, Mr 
     Moscheles,          .          .          .          .Moscheles:
Song, Miss E. Paton, “Gloomy Winter,” 
     (by desire.) 
Extemporaneous Performance on the Grand 
     Piano- Forte, Mr Moscheles.           


Leader, Mr J. DEWAR,

Conductor, Mr HARGITT, Junr.

Tickets 5s. each, to be had at the principal Music Warehouses, and at the Assembly Rooms.


Caledonian Mercury (January 28, 1828): 3.


Till Saturday last, when we were happy to see that Mr Moscheles was attended by a numerous auditory, the public of Edinburgh really had not afforded this gentleman any very convincing practical demonstration of the sense which they entertained of his extraordinary talents. Our various cotemporaries [sic], however, have for some time past teemed with the most eloquent panegyrics on his performance; so much so indeed that a person totally ignorant of his merits might perhaps be disposed to infer that the praises lavished upon him in all probability savoured of extravagance, while such as were previously aware of the exalted reputation which he has so long maintained on the Continent, as well as in London, would very naturally be inclined to think that they were somewhat superfluous. For our own parts, we conceived his established character to be such, that we were ready at once to admit his claim to the very highest honours of his profession, without going into any minute scrutiny of his innumerable excellencies.—Nevertheless, not to appear to have been altogether inattentive observers, though without any prospect of being able to add anything to what has been already so much better expressed  elsewhere, we may venture to say a few words on the subject. We believe it to be generally acknowledged in the musical world, that Mr Moscheles, in most respects, throws every other great piano forte player into the shade—that his execution and his extemporaneous powers are more wonderful than those of Kalkbrenner—and that, if he does not excel Cramer in taste and purity of expression, the superior command which he has over the instrument, enables him to give such passages as require delicacy with more attention to the minutiæ, which that expression not unfrequently requires. In some respects he is altogether incomparable. His shade is perfection itself, and nothing can equal the exquisite tone which he produces, the fairy lightness of his touch, and the thunders of effect which he calls forth from the lower part of the instrument. Such is the distinctness of his articulation, that even in passages of the most inconceivable rapidity, no subdivision of sound, however minute, ever escapes the ear. Into the mysteries of his craft it is out of our power to follow him; and we can only say that the impression which his performance produced was a feeling of astonishment how one individual could accomplish so much, and how any single instrument could be rendered susceptible of such complicated harmony, and such infinite variety of effect. The means by which these ends are attained are in some instances beyond our comprehension; but we know that they can only be the result of the most intense labour, and that we see in Mr Moscheles a person of a powerful and well-organised mind, the energies of which must have been judiciously directed and indefatigably exercised in the acquirement of the art to which he has devoted himself.

On Saturday last his powers were exhibited to the greatest advantage, and in every possible way—not only in concertos and accompaniments, but in studies or exercises, the difficulties of which we should suppose were beyond the compass of every one except himself. What delighted us most, as a finished specimen of his performance, was his variations to “the fall of Paris;” but his extemporaneous display, in which he introduced the “Pibroch of Donald Dhu,” which he played with a strong feeling of nationality, was the most interesting, and perhaps the most surprising manifestations of his almost incredible skill. Miss E. Paton contributed her able assistance, and sang “Di tanti palpiti,” and “Il braccio mio conquise,” a la Pasta, in a style very little inferior to that of the great vocalist herself. Miss Paton has made great progress in her profession since last year, and we were particularly struck with her very correct pronunciation of the Italian, upon which the beauty of that style of singing so much depends.

Edinburgh Evening Courant (January 28, 1828): 3.

The appearance of the Assembly Room on Saturday was very gratifying, and shewed that Mr Moscheles only required to be known to become attractive. His vast powers were almost unknown to us before he came here, which may perhaps account for the comparative failure of his other concerts. The fame of Cramer and Kalkbrenner hail long preceded them through their works, which were almost the only text books used by amateurs, Moscheles, on the contrary, had since his arrival in England a few years ago, published but little music which could come within the grasp of young ladies’ fingers: and, therefore, in comparison with the others, he was an entire stranger to us. All who have heard his compositions, and his performance of them, will reproach themselves for not having sooner become acquainted with his works; and every one we are sure will agree that he is superior unquestionably to all the pianoforte players they ever listened to. His performance on Saturday was, if possible, greater than on either of the other occasions. In his concerto he produced an effect like that of two performers, so massive and superb was his style of playing it. This concerto is in the most brilliant of all keys, the key of E major. He does not string together passages of show-off execution which have no sort of meaning, and leave no permanent impression. He gives out his subject gradually, expatiates upon it, but never loses sight of it for one moment, so that when brought to a close there is nothing awanting [sic], no passage unresolved, no idea not clearly and fully developed. The adagio we especially admire; it is just such a one as Hadyn [sic]would have written had he been thoroughly acquainted with the pianoforte. We are at a loss whether most to praise the composition or the performance of it—perhaps the latter. The concluding rondo on the Grenadiers March is one of the very finest and most effective places we ever heard. Into what a variety of forms did he throw the march, transforming it from a meagre and common-place air into a highly wrought and finished composition? He performed it with surpassing brilliancy. Miss Paton, Mr Moscheles, and Mr Platt, went through their parts to admiration. The Romance, on which this piece is founded, strongly reminded us of “Batti, batti,” and of course is beautiful. Mr Moscheles has rendered it very attractive by his charming arrangement of it. The studies were of too abstract a nature to please the multitude; and therefore they were listened to, with one or two exception, with apathy. The last one which Moscheles played was truly great. It may well be called “The Conflict of Demons;” for it was wild, unearthly, and terrible. If put into score for an orchestra, the effect must be prodigious; indeed, an eminent musician, after hearing M. Moscheles play it at Vienna, obtained permission, and arranged it for a full band, the effect of which, we understand, was quite electrifying.  The Fall of Paris was given in his very best manner. And last, not least, his Extemporaneous Fantasia, was exquisitely beautiful—full of original ideas, and of novel and striking effects.

Miss E. Paton sung two well known songs, in a manner calculated to raise her higher in every one’s opinion “Il braccio mio,” which Pasta enchanted us with not long ago, was given by Miss P. in a style of uncommon, excellence. The light and shade were admirable, and the execution perfect, and we hesitate not to say, that we have only heard two ladies who are superior to Miss Eliza in “Di tanti palpiti,” namely Madame Pasta, and Miss Paton.

The Edinburgh Observer (January 29, 1828): 4.



Our first thought on entering the Assembly Room on Saturday morning was, “what may be the annual consumpt [sic] of black velvet and broad ribbons in this city?” here and there we could discern a bald head and a pair of whiskers, which may, in general, be  taken as symptoms of the male sex; but from the front of the orchestra, to the very furthest extremity of the room under the canopy, almost every inch was occupied by a dense population of bonnets, muffs, tippets, and mud-boots,—strong presumptive evidence that female wearers were concealed under them. We say presumptive; for at present it is almost impossible to decide positively whether ladies actually accompany their bonnets or not. All one can say is,—there walks, stands, or sits, a huge velvet structure, decorated with ribbons as broad as the pavement; but that any human being exists under or therein no man can, without rashness and temerity, affirm. Still, we grant that the belief is not unreasonable; for even in our own day we recollect when it was customary for ladies to wear bonnets on their heads; and by reversing the proposition, we see no difficulty in concluding that bonnets may now wear ladies under them. If so, we should imagine that there could not be less than 700 or 800 people at this concert; a circumstance in which we rejoice greatly, for two reasons—1st, Because Mr Moscheles’ merits deserved such a return; and 2dly, because we hope it will frighten five-sixths of those who were present, from ever touching a piano-forte,—grand, cabinet, or square, for the rest of their  natural lives. As matters stand, piano-forte playing is not only a drug that few can swallow, but an absolute nuisance which has reached such an alarming height, that the Legislature seriously contemplate taxing it, after the manner of hair-powder and hawkers’ licences. Some remedial measure is indispensable; for no. man who has any regard to his auditory nerves, can. With safety venture to call on any family where there are unmarried daughters, upwards of twelve months old: let him use what caution he may, mamma will find a reason in the nature of things, why Miss should exhibit—if Miss herself has not already shewn, that in every thing but taste, time, feeling, and expression, she is a Saint Cecilia. As for tea-parties, bun-meetings, and other snares of that description, we look upon it as a temptation of Providence to venture near them; or at any rate never show face till supper is just about to be announced, taking especial care to shy off before there is any chance of the torture being renewed. We have yet another ground for being satisfied with the full attendance at this concert; viz., that the chosen few, who, in this city, really love the art, and cultivate the instrument, would be sure to be among the crowd, and carry home with them hints for improvement, and examples for practice, which they would in vain  seek for elsewhere .there is not, perhaps, half-a-dozen in Edinburgh who have advanced far enough to profit by a set of lessons from this great master; but there are not a few, who, by observing his style, may improve their own—and correct heir faults by assiduous study, and humble imitation of so perfect a model.

As on the former concerts, Mr Moscheles restricted his performances of his works. The concerto in the major of E. is splendid composition, excelling any one we have heard him perform, and susceptible, we should imagine, of prodigious effect when accompanied by a full orchestra. Among all the intricacy and profuse embellishment, with which every theme is worked up, it is astonishing to observe how closely the motive is adhered to, and brought into bold and prominent relief. The slow movement is a perfect pattern of. The sound, sold, and severe counterpoint of the best German school. The “studies,” he performed are, with the exception of the second, which is an admirable piece of writing, scarcely adapted for a popular concert. His variations on the “Fall of Paris” every one has heard, but never formed an adequate idea of, until he played it. The extemporaneous performance was as rapid, brilliant, and effective as any of the rest; but we are by no means inclined to regard such feats in the miraculous light that some people view them in a  much more moderate proficient in counterpoint, with a tolerable acquaintance with the phrases of piano-forte music, and a fair share of manual dexterity, will play variations on a ground nearly ad libitum; although we verify  believe that no man living could introduce  or execute such difficult extemporaneous passages as some of Mr Moscheles’. The Concertante, on a romance of Blangini, we regret to say—for it is an air of surpassing beauty—was marred by a series of the most untoward accidents. The symphony had scarcely commenced, when the strings of the harp began snapping with the most provoking perseverance and alacrity; and by the time matters were adjusted, the piece was just about concluding. Miss Paton distinguished herself greatly in this air, as well as in “Il braccio.”—In the latter, and in “Di t anti palpiti,” it was evident that she had carefully treasured up and studied Madame Pasta’s manner and decorations; and although we would not offend sound sense by comparing her with that matchless woman, we have no hesitation to say that she is a pupil every way worthy of such a pattern. She has made greater progress within the last six months than she had done ever since she appeared in public. If time adds strength and volume to her voice, she will soon have no rival out of London, and but a few in it.—

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

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

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

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