Henri Herz’s Morning Concert
London: Concert Room, King’s Theatre—Time: Morning, Half Past One o’Clock
Tickets: 10s. 6d.; Boxes available
↓Programme
| Horn Fantasia | Signor Puzzi | |
| Piano Concerto No.2 in C minor (MS) (composed for the occasion) | Mr. Herz | Herz |
| Piano Duet on the March from Auber’s Philtre | Messrs. Herz (Bass), Moscheles (treble) | Herz |
| Piano Variations on Rossini’s March of Otello | Mr. Herz | |
| Free Piano Fantasia, incl. ‘Non piu andrai’, ‘Assisa a’ piè d’un salice’, ‘Garryowen’ | Mr. Herz | |
| Violin Solo | M. de Bériot | De Bériot |
| Principal Vocalists: Miss Atkinson, Mlle Cinti-Damoreau; Mr. Parry jun., Signori Rubini, Tamburini | ||
| Principal Instrumentalists: M. de Bériot, Messrs. Herz, Moscheles, Signor Puzzi | ||
| Leader: Signor Paolo Spagnoletti; Conductor: Sir George Smart | ||
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Programme Notes: The reviews do not clarify who was the leader of the concert. Some reviews mention Mr. Tolbecque whereas the playbill Signor Spagnoletti.
Moscheles: ‘H. Herz completely drowned me with his furious bass, in the duet on subjects out of Auber’s Philtre, which I played, as a favor, with him at his own concert’.
RMM, 195.
Charlotte: ‘This duet, however, ultimately became a favorite’.
RMM, 195.
Advertisements
Playbill
GREAT CONCERT ROOM,
KING’S THEATRE.
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MR.
HENRI HERZ
Respectfully informs the Nobility, Gentry, and his Friends in general, that his
MORNING
CONCERT
WILL TAKE PLACE, AT THE ABOVE ROOMS, ON
WEDNESDAY, MAY 29, 1833,
ON WHICH OCCASION HE WILL HAVE THE ASSISTANCE ON THE
Most eminent Vocal & Instrumental Performers,
AND WILL PERFORM, ON THE GRAND PIANOFORTE,
A NEW CONCERTO (MS.),
AND
Others of his Newest Compositions.
——————————————————————
FULL PARTICULARS WILL BE DULY ANNOUNCED.
——————————————————————
Leader, Signor SPAGNOLETTI.
Conductor, Sir GEORGE SMART.
—————————————————————————————————
Tickets, Half-a-Guinea each,
May be had of Mr. HENRI HERZ, 22, Great Marlborough Street, where early Applications for Boxes are requested to be made; and at the principal music Shops; also at the Box Office, King’s Theatre.
[GB-Lbl Playbills 320]
The Morning Post (May 16, 1833): 1.
MR. HENRI HERZ begs to announce that his MORNING CONCERT will take place on WEDNESDAY, May 29, at the King’s Concert Room, King’s Theatre, to commence at Half-past One o’Clock precisely. Principal Performers—Madame Cinti Damoreau, Miss Atkinson, Signor Rubini, Mr. Parry, junior, Signor Tamburini, Monsieur de Beriot, Signor Puzzi, &c.—Mr. Herz will perform on the Grand Pianoforte a New Concerto (MS.), composed for the occasion; Grand Variations on the March in Otello; and a Duet on a theme by Auber with Mr. Moscheles—Tickets, Half a Guinea each, can be obtained at the principal Music Shops; and of Mr. Herz, 22, Great Marlborough-street, where only Boxes can be secured.
John Bull (May 19, 1833): 153.
MR. HENRI HERZ begs to announce that his MORNING CONCERT will take place on WEDNESDAY, May 29, at the King’s Concert Room, King’s Theatre, to commence at Half-past One o’Clock precisely. Principal Performers—Madame Cinti Damoreau, Miss Atkinson, Signor Rubini, Mr. Parry, jun., Signor Tamburini, Monsieur de Beriot, Signor Puzzi, &c.—Mr. Herz will perform on the Grand Pianoforte a New Concerto (MS), composed for the occasion; Grand Variations on the March in Otello; and a Duet on a theme by Auber with Mr. Moscheles.—Tickets, Half a Guinea each, can be obtained at the principal Music Shops; and of Mr. Herz, 22, Great Marlborough-street, where only Boxes can be secured.
The Morning Post (May 20, 1833): 1.
[Same as issued in The Morning Post on May 16]
The Globe and Traveller (May 22, 1833): 1.
MR. HENRI HERZ begs to announce that his MORNING CONCERT will take place on WEDNESDAY, May 29, at the King’s Concert Room, King’s Theatre, to commence at Half-past One o’Clock precisely.—Principal Performers—Madame Cinti Damoreau, Miss Atkinson, Signor Rubini, Mr. Parry, junior, Signor Tamburini, Monsieur de Beriot, Signor Puzzi, &c.—Conductor Sir George Smart.—Mr. Herz will perform on the Grand Pianoforte a New Concerto (MS). composed for the occasion; Grand Variations on the March in Otello; and a Duet on a theme by Auber with Mr. Moscheles.
Tickets, Half a Guinea each, can be obtained at the principal Music Shops; and of Mr. Herz, 22, Great Marlborough-street, where only Boxes can be secured.
The Morning Chronicle (May 22, 1833): 1.
MR. HENRI HERZ begs to announce that his MORNING CONCERT will take place on Wednesday, May 29, at the King’s Concert Room, King’s Theatre, to commence at Half-past One o’Clock precisely. Principal Performers—Madame Cinti Damoreau, Miss Atkinson, Signor Rubini, Mr. Parry, junior; Signor Tamburini, Monsieur de Beriot, Signor Puzzi. Conductor, Sir George Smart.—Mr. Herz will perform on the Grand Pianoforte a New Concerto (MS.), composed for the occasion; Grand Variations on the March in Otello; and a duet on a theme by Auber with Mr. Moscheles.—Tickets, half a guinea each, can be obtained at the principal music shops; and of Mr. Herz, 22, Great Marlborough-street, where only boxes can be secured.
The Morning Post (May 22, 1833): 1.
[Same as issued in The Morning Post on May 16]
The Morning Post (May 23, 1833): 1.
[Same as issued in The Morning Post on May 16]
The Times (May 23, 1833): 2.
MR. HENRI HERZ begs to announce that his MORNING CONCERT will take place on Wednesday, May 29, at the King’s Concert Room, King’s Theatre, to commence at half-past one precisely. Principal performers:—Madame Cinti Damoreau, Miss Atkinson, Signor Rubini, Mr. Parry, jun., Signor Tamburini, Monsieur de Beriot, Signor Puzzi, &c. Conductor—Sir George Smart. Mr. Herz will perform on the grand pianoforte a new Concerto (MS.), composed for the occasion; Grand Variations on the March in Otello; and a Duet on a theme by Auber with Mr. Moscheles. Tickets, half-a-guinea each, can be obtained at the principal music shops; and of Mr. Herz, 22, Great Marlborough-street, where only boxes can be secured.
The Globe and Traveller (May 24, 1833): 1.
[Same as issued in John Bull on May 22]
The Morning Post (May 24, 1833): 1.
[Same as issued in The Morning Post on May 16]
The Courier (May 25, 1833): 1.
MR. HENRI HERZ begs to announce that his MORNING CONCERT will take place on Wednesday, May 29, at the King’s Concert Room, King’s Theatre, to commence at Half-past One o’Clock precisely. Principal Performers—Madame Cinti Damoreau, Miss Atkinson, Signor Rubini, Mr. Parry, junior; Signor Tamburini, Monsieur de Beriot, Signor Puzzi &c. Conductor, Sir George Smart.—Mr. Herz will perform on the Grand Pianoforte a New Concerto (MS.), composed for the occasion; Grand Variations on the March in Otello; and a duet on a theme by Auber with Mr. Moscheles.—Tickets, Half a Guinea each, can be obtained at the principal Music Shops; and of Mr. Herz, 22, Great Marlborough-street, where only Boxes can be secured.
The Court Journal: Gazette of the Fashionable World, vol. 5, (May 25, 1833): 368.
MR HENRI HERZ begs to announce that his MORNING CONCERT will take place on WEDNESDAY, May 29th, at the KING’S CONCERTO ROOM, KING’S THEATRE, to commence at half-past one o’clock precisely.—Principal Performers—Madame Cinti Damoreau, Miss Atkinson, Signor Rubini, Mr. Parry, jun. Signor Tamburini, Monsieur de Beriot, Signor Puzzi, &c.; Conductor, Sir George Smart.—Mr Herz will perform on the Grand Pianoforte a New Concerto (MS.), composed for the occasion; Grand Variations on the March in ‘Otello;’ and a Duet on a theme by Auber with Mr. Moscheles.—Tickets, Half- a-Guinea each, can be obtained at the principal Music Shops; and of Mr Herz, 22, Great Marlborough-street, where only Boxes can be secured.
The Atlas (May 26, 1833): 344.
MR. HENRI HERZ begs to announce that his MORNING CONCERT will take place on WEDNESDAY, May 29, at the King’s Concert Room, King’s Theatre, to commence at Half-past One o’Clock precisely. Principal Performers—Madame Cinti Damoreau, Miss Atkinson, Signor Rubini, Mr. Parry, junior, Signor Tamburini, Monsieur de Beriot, Signor Puzzi, &c. Leader, M. Tolbaque. Conductor, Sir George Smart.—Mr. Herz will perform on the Grand Pianoforte a New Concerto (MS.), composed for the occasion; Grand Variations on the March in Otello; and a Duet on a theme by Auber with Mr. Moscheles—Tickets, Half a Guinea each, can be obtained at the principal Music Shops; and of Mr. Herz, 22, Great Marlborough-street, where only Boxes can be secured.
John Bull (May 26, 1833): 162.
The lovers of piano forte playing may enjoy a great treat on Wednesday next at the Morning Concert of the celebrated Herz, when this distinguished musician will perform a New MS. Concerto, a Duet with Moscheles, and brilliant variations on the March from Otello. As his stay in London is short, the room will doubtless be crowded, from a natural desire to listen to the performance of one who has produced so many charming compositions, and whose music is familiar to every ear.
The Morning Chronicle (May 27, 1833): 1.
MR. HENRI HERZ begs to announce that his MORNING CONCERT will take place on Wednesday, May 29, at the King’s Concert Room, King’s Theatre, to commence at Half-past One o’Clock precisely. Principal Performers—Madame Cinti Damoreau, Miss Atkinson, Signor Rubini, Mr. Parry, junior; Signor Tamburini, Monsieur de Beriot, Signor Puzzi &c. Conductor, Sir George Smart.—Mr. Herz will perform on the Grand Pianoforte a New Concerto (MS.), composed for the occasion; Grand Variations on the March in Otello; and a duet on a theme by Auber with Mr. Moscheles—Tickets, half a guinea each, can be obtained at the principal music shops; and of Mr. Herz, 22, Great Marlborough-street, where only boxes can be secured.
The Times (May 27, 1833): 1.
[Same as issued in The Times on May 27]
The Courier (May 28, 1833): 1.
[Same as issued in The Courier on May 25]
The Morning Post (May 28, 1833): 1.
MR. HENRI HERZ begs to announce that his MORNING CONCERT will take place TO-MORROW, [the rest is the same as advertised in The Morning Post on May 23]
Reviews
The Globe and Traveller (May 30, 1833): 3.
KING’S THEATRE.—M. Henri Herz, whose continental fame had preceded him to this country as composer of some pretty operas and lighter species of music, and also as a pianist of first-rate quality, gave his first concert in this country at the great Concert Room yesterday. As usual, the programme consisted of two parts, and introduced besides the beneficiare, Cinti, Rubini, Tamburini, Puzzi, young Parry, de Beriot, and Moscheles. The selections made for the introduction of these performers were judicious, and as there was no attempt at shadow for the production of effect, all stood forth in bright and prominent relief. De Beriots solo (his own composition) on the violin was equal in many passages to Paganini’s best; the Signor was among the audience, and applauded his riyal liberally. However, our object now is to speak of Herz himself: we can safely say that we “found in himself something dearer than fame.” His touch is the most brilliant we have heard for years—and as a pianist beside Moscheles, with whom he played a duet on the march from Auber’s Philtre, he sustained his high reputation to the “top of its bent.” He performed, besides his part in this duet, three other pieces, and received a very abundant [*] of applause—a new concerto in C minor, composed for the occasion, variations on the march in Otello, and an extemporaneous performance, which closed the concert. In this latter he introduced four teme—“Non piu andrai,” the romance from Otello, “Assisa a pie,” and our “Garryowen”—the latter of which came in most delicately said unexpectedly to soften the more scientific portions with its simple melody. The extempore embellishments and variations with which these airs were interwoven were of the most brilliant character, and studies for the instrument deserving a less perishable record than the fugacious reminiscences of those who heard them. The concert was one of the fullest, and we should imagine, from the number of coroneted carriages which blockaded the Haymarket in front of the theatre, the most fashionable of the season. The profession, too, were there in great numbers, and even they admitted that Herz “had not disappointed the public.”
The Morning Post (May 30, 1833): 3.
HERZ’S CONCERT.
Few names have excited more interest in the musical world than that of Mr. H. HERZ; his numerous compositions, written progressively for all classes of pianoforte players, and always full of elegance and brilliancy, are so well known and estimated that his first public performance was anticipated with no small degree of pleasure. His great reputation secured of course a very numerous attendance at his Concert yesterday. He was heartily welcomed on his first appearance in the orchestra, and his performance of a new concerto in C minor was rapturously applauded, not only by amateurs, but by a host of eminent professors. His second exhibition was “grand variations on the march in Otello,” than which nothing could be more brilliant and effective. We have so many fine pianists now in London equal in excellence, but differing in manner, that comparison is out of the question. Mr. HERZ’S style appears to us decidedly French, which is much more florid than the severer German school. His execution, staccato and legato, is quite perfect; both hands are equal in strength and accuracy, and every passage is so clearly articulated that a failure (had there been one) of a single note would have been distinctly perceptible. This surprising mechanical excellence enables him to produce effects at once so novel and so ingenious that we cannot pause to consider whether they are legitimate or not; at the same time they are tempered and softened by a touch of such unequalled lightness, smoothness, and delicacy that it imparts a character of elegance to the whole which prevents its rapidity from being overpowering. We were so absorbed in admiration of Mr. HERZ’S manner of playing his new concerto that we are quite unable to give an opinion of it as a composition; all we can say is, that it was graceful, brilliant, and not too long. We were highly gratified to see our old-established favourite MOSCHELES playing the treble of a duet with HERZ. It is delightful to find this liberality of feeling from one great artist towards another; it is honourable to both. The Concert concluded with an extemporaneous performance. Sir G. SMART requested any Lady or Gentleman to give a subject; but as it had not been mentioned in the bills no one was prepared for such a request. Several airs, however, were named by different persons, all of which it appeared had been arranged in various ways by Mr. HERZ. In consequence of some unproductive delay being occasioned Sir G. said that Mr. HERZ would furnish his own themes. A short introduction was followed by Non piu andrai, the romance from Otello, assisa a pie, &c., and Garry Owen, with variations, to each, in which the luxuriance of a brilliant fancy was indulged to the utmost extent of possibility, and all sorts of unimaginable difficulties achieved with an ease and apparent certainty that relieved the hearers from all apprehension of failure.
The vocalists were select, but efficient, namely, Madame CINTI DAMOREAU, Miss AKTINSON (a very promising young Lady), RUBINI, TAMBURINI, and PARRY, jun.
DE BERIOT’S solo on the violin was a delightful performance; and PUZZI’S fantasia on the horn, in which he introduced Le petit Tambour, gave ample proofs of his superiority over all competitors on that very difficult instrument.
The Athenæum (June 1, 1833): 346.
….We have received various tickets of admission this week, and acknowledge ourselves obliged by the compliment, but Herz’s was the only one we could spare time for, and there we should have been well repaid had we heard nothing but his own brilliant performance.
The Court Journal: Gazette of the Fashionable World, vol. 5, (June 1, 1833): 396.
Mr Herz’s Concert.
MR. HENRI HERZ’S first public performance in London took place at his morning concert on Wednesday last. The high reputation which this distinguished pianist has earned in Germany and France, added to the popularity which his compositions have enjoyed in this country for several years past, naturally ensured to him a numerous attendance at his concert. The room was crowded at a very early hour by a highly elegant audience, the majority of whom were ladies, to whom piano-forte playing is always an object of peculiar interest. The first piece performed by Mr Herz was a concerto in C minor, with orchestral accompaniments [sic], composed by himself for the occasion. Nothing could have been better calculated to display his peculiar powers. With much beauty and originality, the composition contains an abundance of passages requiring exquisite lightness and rapidity of fingering, qualities in which Mr Herz far excels all the pianists of the present day. Herz’s style of playing is indicated by that of his compositions; but the magical rapidity of his fingering must be heard to be conceived. Among the many eminent professors of the piano-forte which London at present possesses, it would be a difficult and not a very grateful task to draw comparisons; but it may, we think, be safely affirmed that there are some particulars in which Herz excels them all. His duett [sic], with Moscheles, also his own composition, on a march from Auber’s Philtre, was a real tour de force on the part of both performers, and was rapturously applauded. The concert, independently of the great interest attached to Herz’s playing, was an unusually attractive one. There was a solo on the violin by De Beriot, and among the singers were Cinti Damoreau, Tamburini, and Rubini. At the close of the concert, Herz took his place at the instrument to perform extemporaneously. Through the interpretation of Sir G. Smart, he requested some one among the audience to supply him with themes; but no one being ready to do so, he took some of his own choosing. After several bars of elegant preluding, he introduced ‘Non piu andrai,’ which he varied and modulated with surprising facility. He then suddenly changed his subject to the popular Irish air of ‘Garry Owen,’ which he treat as he had done his former theme, and with which the audience were greatly delighted from the impression produced by Mr Herz’s performance on Wednesday, there can be no doubt that he will excite as much furore in London as he did on his recent visit to Paris.
The Atlas (June 2, 1833): 356.
MR. HERZ’S.—This much talked of pianist made his first public exhibition in this country, at the Opera Concert-room, on Wednesday. From the character of his compositions, with which young ladies’ instruments have been laden for some half dozen years past, we could form a tolerably accurate estimate of his style and execution. In both we have, to a certain extent, been incorrect. In the first place, he is neither a thumper nor a snapper, as almost all his pupils are whom we have heard; and, in the next place, his manual dexterity exceeds what we had anticipated—indeed, this is extraordinary. He executes passages of immense difficulty with a level, and even phlegmatic facility that almost neutralizes the merit of their performance—they pour out like water. His shifting and alternations of the hands are rapid beyond all comparison—he is the very genius of legerdemain. Here, however, our admiration ceases; for, in the midst of all his dexterous accomplishments, we sought in vain for the feeling, the expression, the humanity of one of JOHN CRAMER’S adagios; (Mr. HERZ’S adagio playing is that of an accurate instrument—the soul is wanting. DROUET, on the flute, comes the nearest to him in comparison.) We sought in vain for the rich, and sterling, and overflowing mind of HUMMEL; the genius of Mr. HERZ appears to be redundant only in the repetition of passages of mere difficulty, without any reference to passion (passion he has none), farcy or imagination. In short, as a good musician (not a pianist) said to us, “C’est un grand mecanicien—un mecanicien etonnant—et voila tout.”
What an unwearied eye these foreigners have to the main chance! Our vulgar notions of the delicacy and grandeur d’ame which should accompany the artiste in a liberal profession experienced a sudden bouleversement upon finding the concert-room literally sown with hand-bills, announcing the titles and prices of all Mr. HERZ’S compositions, as well as of some which he means to write. Should this plan not succeed according to the composer’s expectation—and there is little chance of that—the next step will be to hire men with placarded hoards, hinting the glad intelligence that the professor may be consulted—wherever he may have fixed his abode.
The Harmonicon, vol.11, (June 1833): 157.
M. HENRI HERZ’S,
Opera Concert Room, Wednesday Morning, May 29.
This was M. Herz’s first public appearance in England, and as his fame had preceded his arrival among us, a large audience assembled to hear an artist concerning whom so much diversity of opinion prevailed. As we have spoken of him in another part of our number we shall merely state here that he was received in a most encouraging manner, and that his performances were followed by very flattering applause. He played a concerto in C minor, ‘grand variations’ on the march in Otello, and a duet on one piano-forte, with M. Moscheles. His extemporaneous performance need hardly be noticed. It was as good, and made up of pretty much the same materials, as such things generally are. And we will take this opportunity of observing, that such exhibitions are, in our opinion, as derogatory to a great musician, as improvisation would be to a great poet. The vocal strength consisted of Mad. Cinti, Signori Rubini and Tamburini. Signor Puzzi played in a charming manner a fantasia on the horn, and M. de Beriot performed a solo admirably on the violin.
The Athenæum (July 6, 1833): 443.
THE CONCERTS OF THE SEASON.
….
In the first class, is the artist whose reputation as a player, or composer, or both, is sufficiently established to secure him a full attendance, on the mere announcement of his performance. Such only are the individuals who, on the continent, find their talent a profitable passport from city to city. On these occasions, the orchestra is always efficient, and able to do justice to some new composition, which is generally produced— the programme is good, and a proof of sound musical judgment; and, in compliment to the acknowledged talent of the artist, he is willingly assisted by eminent vocalists, and the concert gives great satisfaction. Of this class, were the concerts given by Hummel, Moscheles, Cramer, Herz, De Beriot, Nicholson, Potter, Bochsa, &c.
Le Voleur (June 15, 1833): 528.
M. Henri Hertz, le célèbre pianiste, est à Londres depuis un mois, et obtient les plus étourdissans succès. Il a donné notamment le 29 mai un concert, où il s’était adjoint madame Cinti-Damoreau, miss Atkinson, et MM, Rubini, Tamburini, Beriot et Moscheles. Concerto de sa composition, variations, chaude et brillante improvisation, tout a excité l’enthousiasme. Londres est l’écho de Paris ; amour-propre à part, c’est ce qu’il peut faire de mieux
Ignaz Moscheles' Concert Life 