29 May 1826

Seventh Philharmonic Society Concert

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

Subscription Concert: 4 Guineas 

Programme

Part I
Symphony (MS)	(first performance)	Potter
From La Donna del Lago: Duet, ‘Sei gia sposa?’	Mme Caradori-Allan, Signor Curioni	Rossini
Piano Concerto No.3 in G minor	Mr. Moscheles	Moscheles
From La villanella rapita: Terzetto, ‘Mandina amabile’	Mme Caradori-Allan, Signors Curioni, Pellegrini	Mozart
Overture, Der Berggeist		Spohr
Part II
Symphony No.8 in F major		Beethoven
From Il sacrificio d’Abramo Recit. and Aria, ‘Ah parlate, che forse tacendo’	Mme Caradori-Allan	Cimarosa
Quintet for Two Violins, Two Violas and Violoncello	Messrs. Kiesewetter, Oury, Moralt, Ashley, Lindley	Beethoven
From Nina: Duet, ‘Son io desto’	Signors Curioni, Pellegrini	Paisiello
Overture, Jubilee		Weber

Principal Vocalists: Mme Caradori-Allan; Signors Curioni, Pellegrini

Principal Instrumentalists: Messrs. Ashley, Lindley Kiesewetter, Moralt, Moscheles, Oury

Leader: Signor Paolo Spagnoletti; Conductor: Mr. Cipriani Potter

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Encore: Terzetto, ‘Mandina amabile’— Mme Caradori-Allan, Signors Curioni, Pellegrini—Mozart

Salary: £15.15 for one performance.

[GB-Lbl RPS MS 299, f14 v.]

Letter: Ignaz Moscheles to Max Maria von Weber

Leipzig den 15. Sept. 1861

….Am Am 29. Mai spielte ich im philharmonischen Concert. Man hatte W.’s [C. M. von Weber] Jubelouvertüre angesetzt. Vergebens | hofften wir Alle, daß seine Gegenwart noch einmal die Ausführenden begeistere—er war zu erschöpft, um der Hitze eines Concert-Saales zu widerstehen. 

[Staatsbibliothek zu Berlin—Preußischer Kulturbesitz (D-B): Weberiana Cl. V (Mappe XVIII), Abt. 4 A, Nr. 13 A.]

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Philharmonic Society Programme

UNDER THE IMMEDIATE PATRONAGE OF

His Majesty.

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PHILHARMONIC SOCIETY.

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SEVENTH CONCERT, MONDAY, MAY 29, 1826.

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ACT I.

Sinfonia, MS, (never performed)             –            –             –             –	Potter
Duetto, Madame CARADORI ALLAN and Signor CURIONI, “Sei gia
Sposa,” (La Donna del Lago)              –            –             –             –	Rossini
Concerto Piano-forte, Mr. MOSCHELLES            –            –            –	Moscheles
Terzetto, Madame CARADORI ALLAN, Signor CURIONI, and Signor
PELLEGRINI, “ ”	Mozart
Overture, Der Berggeist         –             –         –          –          –           –	Spohr

ACT II.

Sinfonia in F            –          –          –          –            –             –             –	Beethoven
Recit. ed Aria, Madame CARADORI ALLAN, “Deh Parlate,” (Il Sacri-
fizio d’Abramo)              –         –        –        –         –           –           –	Cimarosa
Quintetto, two Violins, two Violas, and Violoncello, Messrs. KIESE-
WETTER, OURY, MORALT, ASHLEY, and LINDLEY-     –     –	Beethoven
Duetto, Signor CURIONI and Signor PELLEGRINI, “Son io desto,”
(Nina)        –            –            –            –            –         –           –         –
Overture, Jubilee –            –            –            –            –         –	C.M.Von Weber
Leader, Mr. SPAGNOLETTI.—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 door in Little Argyll-street will be open after the Concert for the egress of the Company.

The next Concert will be on MONDAY, June 12.

Reviews

The Literary Gazette; and Journal of Belles Lettres, Arts, Sciences, &c. (June 3, 1826): 349-350.

MONDAY last was distinguished in the Philharmonic Society by an event such as has not happened during the thirteen years of its existence, and which, on that account, may be said to form a new era in its history. A grand Orchestral Symphony of a nativecomposer, Mr. C. Potter, was performed for the first time, and received in a manner which must have been extremely gratifying to the author. The directors, in combatting the rooted prejudice against the capacity of British composers in the higher departments of the art, relied, no doubt, on the merit of the composition; and we are happy to say, they were fully borne out in their opinion by the audience. The last movement was, indeed, so loudly applauded, that are remained for a time doubtful whether they desired to have it repeated, or only wished to pay the compliments due to Mr. Potter for the whole. Having bestowed thus much of praise, generally, our desire to be strictly impartial prompts us to recommend to Mr. Potter to endow his next Symphony as liberally as possible with history, or tale, if we may use that term, of whatever may assist the remembrance of it; and also, to regard above all, the unity of design, which young composers so often neglect. To judge by this first production, we are sure the others will not be wanting in spirit, originality, and learning. 

In Spohr’s Overture Der Berggeist, (the mountain spirit,) we perceive, as well as in that to Faust, how willingly he would shine with Weber, in the supernatural, the wild, and awful; but we fear he attempts that arduous task with acquired talent only. Still, this Overture, considered merely as music for the ear, is an excellent and effective performance.

It is not possible to describe the delight which Mozart’s Terzetto, Mandina amabile, from his altogether unknown Opera La villanelle rapita (which ought so have been stated in the bill), produced on the audience, inimitably as it was sung by Madame Caradori, together with Curioni and Pellegrini: there was no resisting its encore. M. Moschelles is so sure and infallible a master on his instrument, that it is sufficient to mention he played his Concerto in G minor, without saying how he played it. 

Beethoven’s Quintetto in E flat, four violin, &c., by MM. Kiesewetter, Oury, Moralt, Ashley, and Lindley, gave the highest gratification to the audience, and was rapturously applauded. Weber’s* Jubilee Overture, for the first time in these Concerts, was the last, and a very late, performance,—when both payers and hearers had had enough of music. It is a fine overture, but must be heard often to be properly appreciated. Beethoven’s 8th Symphony has no chance after one has heard his first six. 

The Harmonicon, vol. IV (July 1826): 151.

THE PHILHARMONIC CONCERTS.

SEVENTH CONCERT, Monday, May 29, 1826.

ACT I.

Sinfonia, MS. (never performed)            –          –	Potter.
Duetto, Madame Caradori Allan and Signor Cu-
rioni, “Sei gia Sposa,” (La Donna del Lago)	Rossini.
Concerto, Piano-forte, G minor, Mr. Moscheles	Moscheles.
Terzetto, Madame Caradori Allan, Signor Cu-
rioni, and Signor Pellegrini, “Mandina
amabile”           –          –          –          –          –	Mozart.
Overture, Der Berg-geist             –           –         –	Spohr.

ACT II.

Sinfonia in F         –          –          –          –          –	Beethoven.
Recit. ed Aria, Madame Caradori Allan, “Deh
Parlate,” (Il Sacrifisio d’ Abramo)    –           –	Cimarosa.
Quintetto, two Violins, two Violas, and Violon-
cello, Messrs. Kiesewetter, Oury, Moralt,
Ashley, and Lindley      –          –          –          –	Beethoven.
Duetto, Signor Curioni and Signor Pellegrini,
“Son io desto,” (Nina)             –          –          –	Paisiello.
Overture, Jubilee              –          –          –          –	C. M. von Weber.
Leader, Mr. Spagnoletti.—Conductor, Mr. Potter.

The Symphony chosen for the opening of this concert is, in our opinion, by far the ablest composition that Mr. Cipriani Potter has produced; it not only shews the thorough knowledge of harmony—of the characters of the different instruments, and of their combined use in the orchestra, that he has always evinced, but it also displays invention, the want of which is so oppressively felt in nineteen out of twenty of those things called new, that are annually brought forward, in various shapes, and immediately consigned to oblivion. The present work is in the usual number of movements; the Minuet and Trio have the most novelty; herein are some unexpected, excellent effects. There are likewise passages of considerable originality in both the first and last movements, but the finale would be improved by abridgment. The whole met with great applause.

The Symphony in F, Op. 93, by Beethoven, is one of his later productions, and has but very few striking points that we can make out; though many connoisseurs think that they discover beauties in it which entitle it to be ranked high amongst this great composer’s works. But there is much in a name; a high name saves the trouble of thinking, and is enough to protect an opinion, however hastily or erroneously formed.

The Overture to The Mountain Spirit, by Spohr, commencing maestoso in D major, proceeding allegro in D minor, and returning to the major towards the conclusion, is a studied, but not a pleasing work: it is all labour, and but little effect. The Jubilee Overture, composed for the King of Saxony, is a brilliant, exhilirating [sic] composition, but without any of those striking traits that mark most of M. von Weber’s productions.

The Concerto of Mr. Moscheles is full of science, and was surprisingly executed; however, it wants variety, and little more gaiety, for a concert-room. The beautiful Quintet of Beethoven was charmingly performed; Mr. Kiesewetter spared us most of those jerks of which the music of Mayseder may perhaps admit. 

The Vocal part of the present concert was judiciously selected, and well sung. The duet from La Donna del Lago is one of Rossini’s best works. The Terzetto by Mozart,—written by him to strengthen La Villanella rapita, an opera composed by a friend,—is delicate and pleasing, and was loudly encored. The Scena, by Cimarosa, we have often mentioned: it is a grand production. And the Duet from Nina is a good specimen of Paisiello’s melodious and colloquial style. 

The Quarterly Musical Magazine and Review, vol.8, (August 1826): 162-165.

SEVENTH CONCERT, Monday, May 29, 1826.

ACT I.

Sinfonia, MS. (never performed)	Potter.
Duetto, Madame Caradori Allan and Signor Curioni, “Sei gia
Sposa,” (La Donna del Lago)	Rossini.
Concerte Piano-forte, G minor, Mr. Moscheles.	Moscheles.
Terzetto, Madame Caradori Allan, Signor Curioni, and Signor
Pellegrini, “Mandina amabile.”	Mozart.
Overture, Der Berg-geist.	Spohr.

ACT II.

Sinfonia in F.	Beethoven.
Recit. and Aria, Madame Caradori Allan, “Deh Parlate,”
(Il Sacrifisio d’ Abramo.)	Cimarosa.
Quintetto, two Violins, two Violas, and Violoncello, Messrs.
Kiesewetter, Oury, Moralt, Ashley, and Lindley	Beethoven.
Duetto, Signor Curioni and Signor Pellegrini, “Son io desto,”
(Nina)	Paisiello.
Overture, Jubilee.	C. M. von Weber.
Leader, Mr. Spagnoletti.—Conductor, Mr. Potter.

…Nor ought it to escape observation that most of them are existing writers, and residing at this moment in England—we point out the fact in order to meet the charge that living merit is neglected. Here we have an example that testifies most honourably to ability, for one of the peculiar distinctions of this society is, that it very rarely indeed commits the inadvertency of permitting the performance of pieces below a high standard of excellence. Amongst those most distinguished as compositions) were the concertos of Messrs. De Beriot, Dizi, Nicholson, and Moscheles, which exhibited not alone those characteristics which belong to the style of execution peculiar to the artists themselves, but sterling worth, originality, science, and beauty.

….Mr. Moscheles played a concerto of his own on the seventh evening. It were [sic] needless to repeat the praise which every one accords to this superior artist.