Johann Peter Pixis’ Concert
London: King’s Theatre—Time: Evening, Eight o’Clock
Tickets: 10s. 6d.; Boxes available
↓Programme
| *Violin and Piano Duet | Messrs. Mori, Pixis | |
| *From Il Turco in Italia: Quintet, ‘Oh! guardate che accidente’ | Rossini | |
| *From L’Italiana in Algeri: Terzetto, ‘Pappataci!’ | Signors Curioni, Pellegrini, Zuchelli | Rossini |
| *Piano Duet, Military March | Messrs. Moscheles, Pixis | |
| *Piano Rondo Solo | Mr. Pixis | |
| *Variations, ‘The Swiss Boy’ | Mlle Sontag; Piano: Mr. Pixis | |
| Part III | ||
| From Der Freischütz: Scene from Act II (in German) | Mlle Sontag, Mme Schütz | Weber |
| Principal Vocalists: Mlle Sontag, Mme Schütz; Signors Curioni, Pellegrini, Zuchelli |
| Principal Instrumentalists: Messrs. Mori, Moscheles, Pixis, Vogt |
| Leader: Signor Paolo Spagnoletti; Conductor: Mr. Robert Bochsa |
———————————
Encore: Variations, ‘The Swiss Boy’—Mlle Sontag; Piano: Mr. Pixis
Charlotte: ‘When Moscheles returned from Scotland in February, he found a letter from his friend Peter Pixis, who wished to spend the next season in London, as Sontag’s accompanist’.
RMM, 142.
Charlotte: ‚Der Director der italienischen Oper hatte beschlossen, nur dann Concerte in dem damit verbundenen Saale, sowie die Mitwirkung seiner Sänger zu gestatten, wenn die Benefizianten ihre Einnahme mit ihm theilten. Pixis entschloss sich zu seinem Locale und dieser Theilung, gab ein einactiges Concert, worin die Sonntag sang und Moscheles ausser seinen Solostücken vierhändig mit ihm spielte; worauf Scenen aus dem „Freischütz” im Costume, von der Sonntag und Schütz reizend gegeben, folgten‘.
AML I, 197-198.
Advertisements
The Morning Post (May 17, 1828): 1.
THE KING’S THEATRE.—Mr. PIXIS respectfully begs leave to announce to the Nobility, Subscribers to the Opera, and the Public, that, at the suggestion of his numerous Patrons and Friends, he will have a DRAMATIC CONCERT at this Theatre, on WEDNESDAY the 28th instant, under the immediate Patronage of their Serene Highnesses the Prince and Princess Esterhazy.—The following eminent Performers have kindly promised their assistance:—Mademoiselle Sontag, Madame Morin, Madame Stockhausen, and Madame Schutz; Signor Zuchelli, Signor Pellegrini, and Signor Curioni. Solo Performers, Mr. Mori, Mr. Pixis, Mr. Moscheles, and Mr. Vogt. By particular desire, in the course of the Evening will be acted the principal Scene of the Second Act of Weber’s celebrated Opera, DER FREISCHUTZ (in German), by Mademoiselle Sontag and Madame Schutz, as performed at the Royal Theatres of Vienna and Berlin. Leader, Signor Spagnoletti; Conductor, Mr. Bochsa. To commence at Eight o’Clock.—Tickets, half a guinea each, which, with Boxes, may be had at No. 32, St. James’s-street; and at the Opera Box Office, Haymarket.
The Morning Chronicle (May 19, 1828): 1.
KING’S THEATRE.——Mr. PIXIS respectfully begs leave to announce to the Nobility, Subscribers to the Opera, and the Public, that, at the suggestion of his numerous Patrons and Friends, he will have a DRAMATIC CONCERT at this Theatre, on Wednesday, 28th instant, under the immediate Patronage of their Serene Highnesses the Prince and Princess ESTERHAZY.—The following eminent Performers have most kindly promised their assistance: Mademoiselle Sontag, Madame Morin, Madame Stockhausen, and Madame Schutz; Signor Zuchelli, Signor Pellegrini, and Signor Curioni. Solo Performers: Violin, Mr. Mori, Piano-forte; Mr. Pixis and Mr. Moschelles, and by particular desire. In the course of the Evening will be acted the principal Scene of the Second Act of Weber’s celebrated Opera, Der Freischutz (in German), by Mademoiselle Sontag and Madame Schutz, as performed at the Royal Theatres of Vienna and Berlin. Leader, Signor Spagnoletti; Conductor, Mr. Bochsa. To commence at Eight o’clock.—Tickets, Half-a-Guinea each, which, with Boxes, may be had at No. 32, St. James’s-street; and at the Opera Box Office, Haymarket.
The Morning Chronicle (May 20, 1828): 1.
[Same as issued in The Morning Chronicle on May 19]
The Morning Post (May 20, 1828): 1.
THE KING’S THEATRE.—Mr. PIXIS respectfully begs leave to announce to the Nobility, Subscribers to the Opera, and the Public, that, at the suggestion of his numerous Patrons and Friends, he will have a DRAMATIC CONCERT at this Theatre, on WEDNESDAY the 28th instant, under the immediate Patronage of their Serene Highnesses the Prince and Princess Esterhazy.—The following eminent Performers have kindly promised their assistance:—Mademoiselle Sontag, Madame Morin, Madame Stockhausen, and Madame Schutz; Signor Zuchelli, Signor Pellegrini, and Signor Curioni. Solo Performers: Violin, Mr. Mori; Pianoforte, Mr. Pixis and Mr. Moscheles. By particular desire, in the course of the Evening will be acted the principal Scene of the Second Act of Weber’s celebrated Opera, DER FREISCHUTZ (in German), by Mademoiselle Sontag and Madame Schutz, as performed at the Royal Theatres of Vienna and Berlin. Leader, Signor Spagnoletti; Conductor, Mr. Bochsa. To commence at Eight o’Clock.—Tickets, half a guinea each, which, with Boxes, may be had at No. 32, St. James’s-street; and at the Opera Box Office, Haymarket.
The Morning Chronicle (May 21, 1828): 1.
THE KING’S THEATRE.——Mr. PIXIS respectfully begs leave to announce to the Nobility, Subscribers to the Opera, and the Public, that, at the suggestion of his numerous Patrons and Friends, he will have a DRAMATIC CONCERT at this Theatre, on Saturday the 28th instant, under the immediate Patronage of their Serene Highnesses the Prince and Princess ESTERHAZY.—The following eminent Performers have most kindly promised their assistance: Mademoiselle Sontag, Madame Morin, Madame Stockhausen, and Madame Schutz; Signor Zuchelli, Signor Pellegrini, and Signor Curioni. Solo Performers: Mr. Mori, Mr. Pixis, Mr. Moschelles, and by Mr. Vogt; and, by particular desire, in the course of the Evening will be acted the principal Scene of the Second Act of Weber’s celebrated Opera, Der Freischutz (in German), by Mademoiselle Sontag and Madame Schutz, as performed at the Royal Theatres of Vienna and Berlin. To commence at Eight o’clock. Boxes may be had at No. 32, St. James’s-street; and at the Opera Box-Office, Haymarket.—Pit, 10s. 6d.; Gallery, 5s.
The Morning Post (May 21, 1828): 1.
THE KING’S THEATRE.——Mr. PIXIS respectfully begs leave to announce to the Nobility, Subscribers to the Opera, and the Public, that, at the suggestion of his numerous Patrons and Friends, he will have a DRAMATIC CONCERT at this Theatre, on Saturday [sic] the 28th instant, under the immediate Patronage of their Serene Highnesses the Prince and Princess ESTERHAZY.—The following eminent Performers have most kindly promised their assistance: Mademoiselle Sontag, Madame Morin, Madame Stockhausen, and Madame Schutz; Signor Zuchelli, Signor Pellegrini, and Signor Curioni. Solo Performers: Mr. Mori, Mr. Pixis, Mr. Moschelles, and by Mr. Vogt; and, by particular desire, in the course of the Evening will be acted the principal Scene of the Second Act of Weber’s celebrated Opera, Der Freischutz (in German), by Mademoiselle Sontag and Madame Schutz, as performed at the Royal Theatres of Vienna and Berlin. Leader, Signor Spagnoletti; Conductor, Mr. Bochsa. To commence at Eight o’clock. Boxes may be had at No. 32, St. James’s-street; and at the Opera Box-Office, Haymarket.—Pit, 10s. 6d.; Gallery, 5s.
The Morning Chronicle (May 22, 1828): 1.
[Same as issued in The Morning Chronicle on May 21]
The Morning Chronicle (May 23, 1828): 1.
[Same as issued in The Morning Chronicle on May 21]
The Times (May 23, 1828): 3.
KING’S THEATRE.—Mr. PIXIS respectfully begs leave to announce to the Nobility, Subscribers to the Opera, and the Public, that, at the suggestion of his numerous patrons and friends, he will have a DRAMATIC CONCERT at this Theatre, on WEDNESDAY, 28th May, under the immediate patronage of their Serene Highnesses the Prince and Princess ESTERHAZY. The following eminent Performers have most kindly promised their assistance:—Madlle. Sontag, Madame Morin, Madame Stockhausen, and Madame Schutz; Signor Zuchelli, Signor Pellegrini, and Signor Curioni. To commence at 8 o’clock. Boxes may be had at 33, St. James’s-street; and at the Opera box-office, Haymarket. Pit, 10s. 6d. Gallery, 5s.
The Morning Chronicle (May 24, 1828): 1.
[Same as issued in The Morning Chronicle on May 19]
The Morning Post (May 24, 1828): 1.
THE KING’S THEATRE.—Mr. PIXIS respectfully begs leave to announce to the Nobility, Subscribers to the Opera, and the Public, that, at the suggestion of his numerous Patrons and Friends, he will have a DRAMATIC CONCERT at this Theatre, on WEDNESDAY the 28th of May, under the immediate Patronage of their Serene Highnesses the Prince and Princess Esterhazy.—The following eminent Performers have kindly promised their assistance: Mademoiselle Sontag, Madame Morin, Madame Stockhausen, and Madame Schutz; Signor Zuchelli, Signor Pellegrini, and Signor Curioni. Solo Performers: Mr. Mori, Mr. Pixis, Mr. Moschelles, and by Mr. Vogt. By particular desire, in the course of the Evening will be acted the principal Scene of the Second Act of Weber’s celebrated Opera, Der Freischutz (in German), by Mademoiselle Sontag and Madame Schutz, as performed at the Royal Theatres of Vienna and Berlin. Leader, Signor Spagnoletti; Conductor, Mr. Bochsa. To commence at Eight o’Clock.—Boxes may be had at No. 32, St. James’s-street; and at the Opera Box-Office, Haymarket. Pit, 10s. 6d.; Gallery, 5s.
The Times (May 24, 1828): 2.
KING’S THEATRE.—Mr. PIXIS respectfully begs leave to announce to the Nobility, Subscribers to the Opera, and the Public, that, at the suggestion of his numerous patrons and friends, he will have a DRAMATIC CONCERT at this Theatre, on Wednesday, 28th May, under the immediate patronage of their Serene Highnesses the Prince and Princess ESTERHAZY. The following eminent Performers have most kindly promised their assistance:—Madlle. Sontag, Madame Morin, Madame Stockhausen, and Madame Schutz; Signor Zuchelli, Signor Pellegrini, and Signor Curioni. To commence at 8 o’clock. Boxes may be had at 33, St. James’s-street; and at the Opera box-office, Haymarket. Pit, 10s. 6d. Gallery, 5s.
The Morning Post (May 26, 1828): 2.
[Same as issued in The Morning Post on May 24]
The Morning Chronicle (May 27, 1828): 1.
THE KING’S THEATRE.——Mr. PIXIS respectfully begs leave to announce to the Nobility, Subscribers to the Opera, and the Public, that, at the suggestion of his numerous Patrons and Friends, he will have a DRAMATIC CONCERT at this Theatre, TO-MORROW under the immediate Patronage of
[the rest is the same as advertised in The Morning Chronicle on May 19]
The Morning Post (May 27, 1828): 2.
THE KING’S THEATRE.—Mr. PIXIS respectfully begs leave to announce to the Nobility, Subscribers to the Opera, and the Public, that, at the suggestion of his numerous Patrons and Friends, he will have a DRAMATIC CONCERT at this Theatre, TO-MORROW, the 28th of May, under the immediate
[the rest is the same as advertised in The Morning Post on May 24]
The Morning Chronicle (May 28, 1828): 3.
THE KING’S THEATRE.——Mr. PIXIS respectfully begs leave to announce to the Nobility, Subscribers to the Opera, and the Public, that, at the suggestion of his numerous Patrons and Friends, he will have a DRAMATIC CONCERT at this Theatre, this EVENING, under the immediate Patronage of
[the rest is the same as advertised in The Morning Chronicle on May 19]
The Morning Post (May 28, 1828): 1.
THE KING’S THEATRE.—Mr. PIXIS respectfully begs leave to announce to the Nobility, Subscribers to the Opera, and the Public, that, at the suggestion of his numerous Patrons and Friends, he will have a DRAMATIC CONCERT at this Theatre, THIS EVENING, the 28th of May, under the immediate
[The rest is the same as advertised in The Morning Post on May 24]
The Times (May 28, 1828): 2.
KING’S THEATRE.—Mr. PIXIS respectfully begs leave to announce to the Nobility, Subscribers to the Opera, and the Public, that, at the suggestion of his numerous patrons and friends, he will have a DRAMATIC CONCERT at this Theatre, THIS EVENING, May 28, under the immediate patronage of their Serene Highnesses the Prince and Princess ESTERHAZY. The following eminent Performers have most kindly promised their assistance:—Madlle. Sontag, Madame Morin, Madame Stockhausen, and Madame Schutz; Signor Zuchelli, Signor Pellegrini, and Signor Curioni. To commence at 8 o’clock. Boxes may be had at 33, St. James’s-street; and at the Opera box-office, Haymarket. Pit, 10s. 6d. Gallery, 5s.
Reviews
The Globe and Traveller (May 29, 1828): 3.
KING’S THEATRE.—M. Pixis, the composer and piano-forte performer, gave a Concert for his own benefit last night at this theatre. Although yet a stranger in this country, his name has of late years acquired much celebrity among the musical world, through the peculiar style and brilliancy of his compositions for the piano-forte. He was assisted in the two first parts of the concert, in the vocal department by Mademoiselle Sontag, Madame Schutz, Madame Morin, Madame Stockhausen—and Signor Curioni, Zucchelli, and Pellegrini; and in the leading instrumental parts, by Messrs. Mori, Moschelles, and Vogt. M. Pixis executed a solo rondo, a duet with Mori, and one with Moschelles, on two instruments, in a style which elicited the greatest applause; and a duet between him and Mademoiselle Sontag, wherein alternate variations were introduced for the voice and piano-forte, was vehemently encored. The third part of the evening’s entertainments consisted of the principal scene of the second act of Freischutz, performed in German by Madame Schutz and Mademoiselle Sontag.
The Morning Post (May 29, 1828): 3.
KING’S THEATRE,
Mr. PIXIS, the well known and admired Pianist, gave a Dramatic Concert on a grand scale at this Theatre last evening, at which most of the celebrated Instrumental and Vocal Artistes, including the ruling star, SONTAG, assisted. The attendance, particularly in the boxes, was brilliant and numerous.
The beautiful terzetto “Papataci,” by CURIONI, ZUCHELLI, and PELLEGRINI, and the quintetto, “Oh, quadrate che accidente!” were not so effective as they usually are. PELLEGRINI’S humour has fled with time. PIXIS performed a rondo di concerto of his own in admirable style, as well as a grand military march, arranged for two pianofortes (with MOSCHELES). The execution of this morceau by these two great masters of the instrument was truly excellent, and called forth the unanimous plaudits of the audience. SONTAG sung the same variations on “The Swiss Boy,” which she sang before his MAJESTY. This was encored. Her greatest effort, and at the same time her greatest triumph, was however in a dramatic selection, the principal scene of the second act of the Opera Der Freischutz, certainly the finest specimen of her talents we have yet had an opportunity of witnessing. The delightful and truly excellent manner in which she sang and acted the celebrated scena of that Opera, elicited the universal and heart bravas of the whole house, and they were richly merited. All the specimens we have had of the execution of that piece fall short in comparison with Mademoiselle SONTAG’S exertion of last night, notwithstanding it was sang in the German language, with its thousands of impeding consonants. Madame SCHUTZ assisted her in the scene, and most deservedly shared in the honours awarded.
The Times (May 29, 1828): 2.
KING’S THEATRE,
Mr. Pixis, the composer and piano-forte performer, gave a Concert for his own benefit last night at this theatre, upon a scale seldom attempted on similar occasions. Although yet a stranger in this country, his name has of late years acquired much celebrity among the musical world, through the peculiar style and brilliancy of his compositions for the piano-forte, which are, perhaps, rather more calculated than those of other eminent composers of the day for the display of power and execution on that instrument. He was assisted in the two first parts of the concert, in the vocal department by Mademoiselle Sontag, Madame Schutz, Madame Morin, Madame Stockhausen, and Signor Curioni, Zucchelli, and Pellegrini; and in the leading instrumental parts, by Messrs. Mori, Moschelles, and Vogt. M. Pixis executed a solo rondo, a duet with Mori, and one with Moschelles on two instruments, in a style which elicited the greatest applause; and a duet between him and Mademoiselle Sontag, wherein alternate variations were introduced for the voice and pianoforte, was vehemently encored. The third part of the evening’s entertainments consisted of the principal scene of the second act of Freischutz, performed in German by Madame Schutz and Mademoiselle Sontag. These two ladies infused a charm into that part of the opera which altogether gave it the character of a new representation; and, judging from this specimen, we think if it were possible to give the whole opera here in German, with Mademoiselle Sontag as Agata, and Madame Schutz as Annchen, it would acquire a new vogue of equal duration with that which it has sustained so extraordinary a length of time. Mademoiselle Sontag played her part with an expression and feeling which evinced how perfectly her native language and German music were congenial to her feelings, The satisfaction of the audience was testified by long-protracted applause, and by a loud call for her appearance alter the curtain had dropped, with which she willingly complied. The boxes were all filed with elegant company, and the pit nearly so.
The Atlas (June 1, 1828): 348.
MUSIC AND MUSICIANS.
THE dramatic concert given by Mr. PIXIS, at the King’s Theatre, on Wednesday evening, was one of the most successful as well as interesting benefits of the season. Mr. PIXIS is entitled to rank among the first pianoforte players of the day: his execution is admirably neat and brilliant, his touch elastic, his left hand remarkably powerful and independent; he is certain of his distances. He is, moreover, a very tasteful composer. A movement which he selected from one of his concertos for performance on this occasion, quite delighted us—not only from his excellent playing, but for the intrinsic worth of the composition; which was at once playful, melodious, and full of musician-like passages. When we hear the music of a pianoforte concerto that is not absolutely a bore, we are thankful; and we confess a really ingenious and fanciful composition of the style equally surprised and pleased us. We hope Mr. PIXIS will give this rondo to the public. During the evening, the new performer executed a duet with Mr. MORI for the pianoforte and violin, and one for two pianofortes with Mr. MOSCHELES, and accompanied Mademoiselle SONTAG in some variations on a Swiss melody. This last piece was encored; and it gave the lady an opportunity of correcting her intonation, which was at first rather defective, her voice being somewhat sharp. The second time it was perfectly given; and the arpeggio passages, for which Mademoiselle SONTAG is so justly celebrated, were as accurate as might be wished. The grand attraction of the concert—consisting of the principal scene of the second act of Der Freischutz, performed in character by Mademoiselle SONTAG and Madame SCHUTZ, and sung with the original German words—was reserved for the last act. This was a taste of genuine nature, both as to the singing and acting. Nothing could surpass the truth with which both ladies gave the spirit of the composer. We only longed for more. The scene commenced with the beautiful duet in A, in which Annchen (Madame SCHUTZ) tries to laugh of the melancholy of her companion Agatha (Mademoiselle SONTAG), and in which the composer has so admirably expressed and contrasted the two characters. After some dialogue, followed an aria in the polacca style by Madame SCHUTZ; and then the well-known recitative and prayer in the moonlight scene, most exquisitely sung by Mademoiselle SONTAG. We shall extract the description of the situation in which the scene opens: it makes a pleasant domestic picture; and we feel that two young hearts, one full of love and the other of a tender friendship, are the very people who ought to discourse excellent music.
“ACT II. SCENE I.
“Ante-room in the ranger’s house, with two side-doors, and another in the centre leading to a balcony, closed by curtains; the chamber hung with stag’s horns, &c. On one side a spinning-wheel, on the other a table with a burning lamp and a white dress with green ribbons on it.
“ANNCHEN standing on a ladder, and hammering a nail in the wall, on which site is hanging a picture.
“AGATHE in a house dress, putting a bandage round her head.” Our readers will see that this is widely different from the fine lady and lady’s maid to which we are accustomed in the English performance. How much of the passion of the music is lost by departing from the romantic simplicity of the original story, let any one judge who hears the two versions. To our thinking, it was the first time that WEBER has been properly given in this country, and we now desire nothing more than to hear his great work complete.
Ignaz Moscheles' Concert Life 