New Musical Fund Benefit Concert
London: King’s Theatre—Time: Evening
Subscription Concert: 1 Guinea for two Gallery tickets to every benefit concert,
10 Guineas for two tickets to every benefit concert for life
Boxes and Pit, 10s. 6d. Gallery, 1s.
Programme
| Part I | ||
| From Te Deum Opening, ‘De Deum laudamus’ Trio, ‘Tibi omnes angeli’ ‘Sanctus’ | Miss Goodall, Messrs. Hawes, Terrail Chorus | C. H. Graun |
| A selection from the Cantata ‘The Offering of devotion at the shrine of nature’ from the poem by Hampden Napier, Esq. arranged by Hawes to Weber’s Natur und liebe | ||
| Recit., ‘Not all the world’s vain luxuries’ Recit., ‘And when the sun descendeth to west’ Duet, ‘Fraught with melodies Elysian’ Recit., ‘But when the hart is sad with sorrow’ Recit., ‘Go! When the roseate flush of even’ Air, ‘The nature doth her stores unfold’ Recit., ‘And as the vapours dark of night’ Sestet, ‘Whisper, ye breezes, and murmur, ye fountains’ | Mr. Phillips Mr. Bellamy Miss Cawse, Miss H. Cawse Mr. Phillips Miss Goodall Miss H. Cawse Miss Goodall Miss Goodall, Miss H. Cawse, Messrs. Bellamy, Hawse, Phillips, Terrail | |
| From Orlando Aria, ‘Lascia Amor e siegui Marte’ | Mr. Bellamy | Handel |
| Piano Fantasia and Variations on the favourite air ‘Au clair de la Lune’ with Orchestral Accompaniments (Op.50) | Mr. Moscheles | Moscheles |
| From Orfeo ed Euridice Recit. and Aria, ‘Che farò senza Euridice’ | Mme Pasta | Gluck |
| From Il Turco in Italia Aria, ‘Amor, perchè mi pizzichi’ | Signor de Begnis | Rossini |
| Coronation Anthem, ‘I was glad when they said unto me’ (composed expressly for, and performed at the Coronations of His Majesty) | Organ: Mr. Attwood | Attwood |
| Part II | ||
| Overture, Der Freischütz | Weber | |
| Air, ‘The Winter it is gone’ | Mr. Braham; Piano Accomp: [?] | Braham |
| From The Liberation of Germany: Recit. and Aria, ‘Soft blowing Zephyrs’ (MS) | Miss Goodall; Violoncello Obbligato: Mr. Lindley | Winter |
| Solo Harp, incl. ‘Rule Britannia’ with Variations | M. Labarre | Labarre |
| Air, ‘Fly away Dove’ | Miss H. Cawse | Whitaker |
| Air, ‘When forc’d from dear Hebe to go’ | Mr. Phillips; Piano Accomp: [?] | Arne |
| Recit. and Aria, ‘Ahi quanto e mai difficile’ | Mme Sala | Liverati |
| From The Messiah: ‘Hallelujah’ | Grand Chorus | Handel |
| Principal Vocalists: Mesdames Sala, Pasta, Miss Cawse, Miss Goodall, Miss H. Cawse; Messrs. Bellamy, Braham, Hawes, Phillips, Terrail, Signor de Begnis |
| Principal Instrumentalists: Messrs. Attwood, Lindley, Moscheles, M. Labarre |
| Leader: Mr. Franz Cramer; Conductor: Sir George Smart |
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Programme Notes: Miss Paton and Signora Ronzi de Begnis were indisposed. Therefore, some of the songs that were advertised in the programme were not performed.—Mme Pasta arrived late, and as a result the order of the programme was altered as well. Sir George Smart has marked the correct order on his playbill which is held at the collection of the New Musical Fund at the British Library. He also notated on the MS ‘P.Forte only’ for the songs ‘The Winter it is gone’ ands‘When forc’d from dear Hebe to go’
Encores: Recit. and Aria, ‘Che farò senza Euridice’—Mme Pasta—Gluck
Overture, Der Freischütz—Weber
Air, ‘The Winter it is gone’—Mr. Braham—Braham
Air, ‘Fly away Dove’—Miss H. Cawse—Whitaker
Advertisements
Playbill
NEW MUSICAL FUND.
———
SONGS, CHORUSES, &c.
PERFORMED IN
The King’s Theatre, Haymarket,
FOR THE BENEFIT OF
The New Musical Fund
ESTABLISHED APRIL 16,1786,
FOR THE RELIEF OF
Decayed Musicians, their Widows and Orphans.
—————————
TO WHICH IS ADDED
A LIST OF THE SUBSCRIBERS,
BOTH HONORARY AND PROFESSIONAL.
———————————————
LONDON:
PRINTED FOR THE BENEFIT OF THE SOCIETY,
By J. Mallett, 59, Wardour Street, Soho.
☞PRICE ONE SHILLING ONLY,
And the Women who sell them are positively ordered by the Committee to ask no more.
ADVERTISEMENT.
To the Nobility, Gentry, and Public in general.
THE Committee and Court of Assistants for conducting the affairs of this charitable Institution, beg leave to address the Nobility and Gentry, their Subscribers, and the Public in general, in behalf of their poor and distressed Brethren; who, after having spent their best days in contributing to the amusement and pleasure of the Community at large, are now, in their age and infirmity, rendered incapable of affording them-selves those comforts which their situation requires. For the purpose, therefore, of ameliorating the severity of want to the aged Musician and Family, this Institution was founded; the Subscription to which is One Guinea per annum, or Ten Guineas for a Life Subscription; for which the person so subscribing is entitled to two Tickets for the Annual Concert, which will take place this year on Friday, the third of June, at the Opera House in the Haymarket. They therefore humbly solicit the assistance of the charitable and humane, either in subscriptions or donations, in support of a Fund founded on such liberal principles. They are now expending, in relief of their distressed Brethren, nearly SIX HUNDRED POUNDS per annum; but, having been considerable losers in their funded property by the change of the five per cents to the fours, and by the death of many of their old friends who were subscribers, they find great difficulty in continuing the usual allowance to their indigent Brethren. They look forward, therefore, with considerable confidence, to a generous Public, and particularly to the Lovers of Harmony.
The Committee have only to add, in the name of themselves and the Society at large, their grateful thanks to their Subscribers, and to the Public in general, for past favours; from which alone the Society has been enabled to succeed thus far in its charitable intentions.
By order of the Committee,
THOMAS HAMMOND, Secretary.
15, Little Chapel Street, Soho.
N.B. Every Honorary Subscriber paying ONE GUINEA annually, will receive Two Tickets of Admission to every BENEFIT CONCERT of the Society; and every one subscribing TEN GUINEAS at one Payment, will, in like manner, be entitled to Two Tickets annually, and be considered a SUBSCRIBER FOR LIFE.
Subscriptions received at Messrs. HAMMERSLEY and Co.’s, Bankers, Pall Mall; the principal Music Shops; by JOSEPH KENDRICK, Esq. Treasurer, No. 6, Upper Mary-la-bonne Street; at the Secretary’s, Mr. THOMAS HAMMOND, 15, Little Chapel Street, Soho; and at the Opera Office.
TRUSTEES.
| Sir GEORGE SMART, | Mr. A. F. C. KOLLMAN, |
| Mr. FRANCIS STEMDAN, | Mr. J. KENDRICK, Sen. |
| Mr. EDWARD CHRISTIAN, | Mr. JOHN SAWYER, |
| Mr. JOSEPH TETT, | Mr. THOMAS LESTER. |
TREASURER.
JOSEPH KENDRICK, Esq. 6, Upper Mary-la-bonne Street.
PHYSICIANS TO THE SOCIETY.
Dr. KERRISON, New Burlington Street.
Dr. HOOPER, Saville Row.
SURGEON.
J. HOWSHIP, Esq. George Street, Hanover Square.
SOLICITOR.
CHARLES HENRY STEDMAN, Esq. 26, Birchin Lane, Cornhill.
SECRETARY.
Mr. THOMAS HAMMOND, 15, Little Chapel Street, Soho.
COLLECTOR.
Mr. J. HOLLAND, 9, Cowley Street, Westminster.
PRINCIPAL VOCAL PERFORMERS.
Madame RONZI DE BEGNIS, Signor DE BEGNIS,
AND
Madame PASTA.
Miss GOODALL,
Madame SALA,
Miss CAWSE, Miss H. CAWSE,
AND
Miss PATON.
Mr. BRAHAM,
Mr. TERRAIL, Mr. HAWES,
Mr. PHILLIPS,
AND
Mr. BELLAMY.
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PRINCIPAL INSTRUMENTAL PERFORMERS.
Piano Forte, Mr. MOSCHELES,
AND
Harp, Mr. LABARRE.
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Leader of the Band, Mr. F. CRAMER.
Conductor, Sir GEORGE SMART.
THE INSTRUMENTAL BAND
Will consist of many of the Performers of the Opera House, the Concert of Antient Music, the Philharmonic Society, the Royal Academy of Music, and the Members of the New Musical Fund.
THE CHORUSES
Will be supported by many of the Gentlemen Choristers of the Antient Concert, the Young Gentlemen of his Majesty’s Chapel Royal, St. Paul’s Cathedral, and Westminster Abbey, several Female Chorus Singers belonging to the King’s Theatre, &c. &c.
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All the Performers have most kindly promised their gratuitous aid upon this charitable occasion.
NEW MUSICAL FUND CONCERT,
FRIDAY, JUNE 3, 1825.
| PART I. | |
| Opening of the Te Deum. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Graun. | |
| A Selection from the favourite | |
| CANTATA, | |
| The Offering of Devotion at the Shrine of Nature. | |
| The Words by HAMPDEN NAPIER, Esq. Arranged by Mr. HAWES to the original Music of | |
| NATUR UND LIEBE. | |
| Composed by C. M. VON WEBER. | |
| The principal Vocal Parts by Miss GOODALL, Miss CAWSE, Miss H. CAWSE, | |
| Mr. TERRAIL, Mr. HAWES, Mr. PHILLIPS, and Mr. BELLAMY. | |
| Recitativo ed Aria, Madame PASTA, “Che faro.”. . . . . . . . . .. . (Orfeo.). . . . . . . . . . . . . Gluck. | |
| Aria, Mr. BELLAMY, “Lascia amor,”. . . . . . . . . . . . . . (Orlando.). . . . . . . . . . . . . . . . Handel. | |
| Fantasia, with Variations on the French Air, “Au clair de la lune;” | |
| (with Orchestral Accompaniments) for the Grand Piano Forte, | |
| Mr. MOSCHELES . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. . . . . . . . . . . . . . . Moscheles. | |
| Scena, Miss PATON, “Softly sighs the voice of evening.” (Freyschütz.) Weber. | |
| Duetto, Madame RONZI DE BEGNIS and Signor DE BEGNIS, | |
| “Non temere.” . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. . . . . . . . . . . . . . .Mercadante. | |
| Coronation Anthem. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. . . . . . . . . . . . . . . . . .Attwood. | |
| Composed expressly for, and performed at, the Coronation of HIS MAJESTY. | |
| Mr. ATTWOOD will preside at the ORGAN. | |
| PART II. | |
| Grand Overture to Freyschütz . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Weber. | |
| Air, Mr. BRAHAM, “The winter it is gone.” . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Braham. | |
| Recitativo ed Arioso, (MS.) Miss GOODALL, “Soft blowing zephyrs;” | |
| (from the Cantata the Liberation of Germany). | |
| Violoncello Obligato, Mr. LINDLEY. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Winter. | |
| Solo, Harp, Monsieur LABARRE; in which will be introduced, with Variations, | |
| The National Air, “Rule, Britannia.” . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Labarre. | |
| Air, Miss H. CAWSE, “Fly away, dove.”. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Arne. | |
| Recitativo ed Aria, Madame SALA, “Ahi quanto e mai difficile.” . . . . . . . . . . . . . . . Liverati. | |
| Grand Chorus, “Hallelujah.” . . . . . . . . . . . . . . . .(Messiah.) . . . . . . . . . . . . . . . . . . . . Handel. |
THE CHORUSES
Will be supported by many of the Gentlemen Choristers of the Antient Concert, the Young Gentlemen of His Majesty’s Chapels Royal and St. Paul’s Cathedral, and the celebrated Female Chorus Singers from Lancashire.
THE INSTRUMENTAL BAND
Will consist of many of the Performers of the Opera House, the Concert of Antient Music, the Philharmonic Society, and the Members of the New Musical Fund.
All the Performers have most kindly promised their GRATUITOUS AID upon this charitable occasion.
PART I.
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☞In consequence of the prior engagements of some of the principal Vocal Performers, the Committee for managing this Concert most respectfully request the indulgence of the Audience, should it be necessary to change the order of the following pieces.
[The rest of the programme includes the pieces performed, including the lyrics of the songs, and the following letters by Miss Paton and Signor de Begnis]
King’s Theatre, June 3rd, 1825.
THE COMMITTEE most respectfully acquaint the Subscribers and the Public, that the following Letters were received this morning from Miss PATON and Signor DE BEGNIS.
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This is to certify, that I have attended Miss PATON
professionally, and it is my decided opinion that it would not only be very prejudicial to her health to attend the Theatre at present, but likewise that, from the very severe cold under which she labours, particularly affecting the trachea, it would be quite impossible for her to sing any song.
Baker Street, (Signed) W. MONCK, M. D.
June 2nd, 1825. Member of the Royal College of Physicians.
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(Translation.)
MY DEAR SMART,
Madame RONZI DE BEGNIS entreats that you will
apologize for her to the Committee of the Musical Fund. She cannot assist at the Concert as she promised, being compelled to keep her bed by a violent cold. She would not have sung, even this evening, if it had been possible to postpone her benefit. She thus finds it impracticable to be present at the Concert to-morrow night; and if she does not remain in bed two or three days, the performances at the King’s Theatre must cease.
As far as regards myself, if you can introduce a Duet with Miss STEPHENS, or any other Singer, I am desirous to do all in my power to assist. Believe me,
Yours, &c. &c.
(Signed) DE BEGNIS Thursday Night, after the Opera.
TO SIR GEORGE SMART.
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In consequence of these disappointments, which the Committee deeply regret,
Signor DE BEGNIS
Has kindly consented to sing the
Aria, “Amor, perchè mi pizzichi.”. . . . (Il Turco in Italia.). . . Rossini.
[GB-Lbl C.61.g.20.]
John Bull (May 29, 1825): 170.
THE KING’S THEATRE.
NEW MUSICAL FUND, established April 16, 1786, for the RELIEF of DECAYED MUSICIANS, their WIDOWS and ORPHANS. Under the immediate Patronage of His Most Excellent MAJESTY, their Royal Highnesses the Duke of York, Cumberland, Sussex, Cambridge and Gloucester. Patronesses—Her Royal Highness the Duchess of Kent; Her Royal Highness The Duchess of Clarence. President—His Royal-Highness the Duke of Sussex. On FRIDAY, June 3d, will be performed A GRAND MISCELLANEOUS CONCERT of Vocal and Instrumental Music, for the Benefit of this Institution. The Orchestra will be erected on the Stage, on the grand scale of former years. The following eminent Performers have, in the most handsome manner, kindly promised their gratuitous assistance. Principal Vocal Performers—Madame Ronzi de Begnis, Signor de Begnis, and Madame Pasta; Miss Stephens, Miss Goodall, Miss Cawse, Miss H. Cawse, and Miss Paton; Mr. Braham, Mr. Terrail, Mr. Hawes, Mr. Phillips, and Mr. Bellamy. In the course of the Concert, a Fantasia on the Grand Piano-forte by Mr. Moscheles and Solo, Harp (in which will be introduced, with Variations, the National Air “Rule Britannia”) by Mr. Labarre. Some Grand Choruses will be performed. Leader of the Band, Mr. F. Cramer—Conductor, Sir George Smart. The Organ will be erected by Mr. Gray. Further particulars will be duly announced.—Tickets for the Boxes and Pit, 10s. 6d., and for the Gallery, 5s. The doors will be opened at 7, and the Concert will commence at 8 o’clock.—Subscriptions are received, and Tickets delivered, at Messrs. Hammersley and Co.’s, Bankers, No.76, Pall-mall; at the Secretary’s, Mr. T. Hammond, Little Chapel-street, Soho ; the Treasurer’s, Joseph Kendrick, Esq. No. 6, Upper Mary-le-bone-street ; at Mr. Ebers’, Bond street ; and at all the principal Music Shops.—A Subscriber paying One Guinea will have two Tickets. Any Lady or Gentleman subscribing the sum of Ten Guineas (at one payment) will be considered as an Honorary Subscriber for life, and will be entitled to two Tickets for the Annual Benefit Concert of this Society. If any of the Subscribers should not receiver their Tickets in time, they are respectfully requested to write to the Secretary, and they shall be immediately forwarded to them. A Subscriber’s Ticket will admit two to the Gallery. Books of the Performance, with a List of the Subscribers, may be had at the Opera house, price 1s. only. The Managers of this Charity respectfully entreat that the Subscribers who intend to retain their Boxes for the night of their Benefit, will honour them with their commands on or before the 29th of May; immediately after which date the remaining boxes will be finally appropriated. The Managers beg permission to explain that there is a considerable number of Property Boxes in the King’s Theatre, the proceeds of which belong to persons wholly unconnected with the Theatre; and they therefore request that all applications for Boxes be made only at Messrs. Chappell and Co.’s, New Bond-street.
The Morning Chronicle (May 30, 1825): 1.
THE KING’S THEATRE.—NEW MUSICAL FUND, established April 16, 1786, for the Relief of Decayed Musicians, their Widows and Orphans.—Under the immediate Patronage of his MOST EXCELLENT MAJESTY, his Royal Highnesses the Duke of Cumberland, his Royal Highness the Duke of Sussex, his Royal Highness the Duke of Cambridge, and his Royal Highness the Duke of Gloucester.—Patronesses: Her Royal Highness the Duchess of Kent, her Royal Highness the Duchess of Clarence.—President: His Royal Highness the Duke of Sussex.—On Friday, June 3, 1825, will be performed a GRAND MISCELLANEOUS CONCERT of VOCAL and INSTRUMENTAL MUSIC, for the BENEFIT of this INSTITUTION. The Orchestra will be erected on the Stage, on the grand scale of former years. The following eminent Performers have, in the most handsome manner, kindly promised their gratuitous assistance.—Principal Vocal Performers, Madame Ronzi de Begnis, Signor de Begnis, and Madame Pasta; Miss Stephens, Miss Goodall, Miss Cawse, Miss H. Cawse, and Miss Paton ; Mr. Braham, Mr. Terrail, Mr. Hawes, Mr. Phillips, and Mr. Bellamy. In the course of the Concert, a Fantasia on the Grand Piano-forte by Mr. Moscheles; and Solo, Harp. In which will be introduced, with variations, the National Air ‘Rule Britannia,’ by Mr. Labarre. Some Grand Choruses will be performed. Leader of the Band, Mr. F. Cramer; Conductor, Sir George Smart.—The Organ will be erected by Mr. Gray.—Further particulars will be duly announced.—Tickets for the Boxes and Pit, 10s. 6d. and for the Gallery, 5s.—The Doors will be opened at Seven, and the Concert will commence at Eight’ o’Clock. Subscriptions are received, and Tickets delivered at Messrs. Hammersley and Co.’s, Bankers, No. 76, Pall Mall; at the Secretary’s, Mr. T. Hammond, Little Chapel-street, Soho; the Treasurer’s, Joseph Kendrick, Esq. No. 6, Upper Mary-le-bone-street; at Mr. Ebers’s, Bond-street; and at all the principal Music Shops.
A Subscriber paying One Guinea will have two Tickets. Any Lady or Gentleman subscribing the sum of Ten Guineas (at one payment), will be considered as an Honorary Subscriber for life, and will be entitled to two Tickets for the Annual Benefit Concert of this Society. If any of the Subscribers should not receiver their Tickets in time, they are respectfully requested to write to the Secretary, and they shall be immediately forwarded to them. A Subscriber’s Ticket will admit two to the Gallery. Books of the Performance, with a List of the Subscribers, may be had at the Opera House, price one shilling only. The Managers of this Charity respectfully entreat that the Subscribers who intend to retain their Boxes for the night of their Benefit, will honour them with their commands on or before the 29th of May; immediately after which date the remaining Boxes will be finally appropriated. The Managers beg permission to explain, that there is a considerable number of Property Boxes in the King’s Theatre, the proceeds of which belong to persons wholly unconnected with the Theatre; and they therefore request that all applications for Boxes be made only at Messrs. Chappell and Co.’s, New Bond-street.
The Morning Post (June 3, 1825): 2.
NEW MUSICAL FUND CONCERT.—KING’S THEATRE.—PRIVATE BOXES and TICKETS to be had at Mr. EBERS’S, 27, Old Bond-street.
The Times (June 3, 1825): 4.
THE KING’s THEATRE.——NEW MUSICAL FUND, established April 16, 1786, for the Relief of Decayed Musicians, the Widows and Orphans.—Under the immediate Patronage
of His Most Excellent MAJESTY.
| H. R. H. the Dyke of York | H. R. H. the Duke of Cambridge |
| H. R. H. the Duke of Cumberland | H. R. H. the Duke od Glocester |
| H. R. H. the Duke of Sussex |
| PATRONESSES. |
| H. R. H. the Duchess of Kent | H. R. H. Duchess of Clarance |
THIS EVENING, June 3, will be performed a Grand Miscellaneous CONCERT of VOCAL and INSTRUMENTAL MUSIC, for the BENEFIT of this INSTITUTION.. The Orchestra will be erected on the Stage, on the grand scale of former years. The following eminent Performers have, in the most handsome manner, kindly promised their gratuitous assistance. Principal Vocal Performers—Madame Ronzi de Begnis, Signor de Begnis, and Madame Pasta; Miss Goodall, Madame Sala, Miss Cawse, Miss H. Cawse, and Miss Paton; Mr. Braham, Mr. Terrail, Mr. Hawes, Mr. Phillips, and Mr. Bellamy. Leader of the Band, Mr. F. Cramer; Conductor, Sir George Smart. The organ will be erected by Mr. Gray.
Part I.—Opening of the Te Deum, Graun. A selection from the favourite Cantata, the Offering of Devotion at the Shrine of Nature. The words by Hampden Napier esq., arranged by Mr. Hawes to the original music of Natura and Liebe, composed by C. M. Von Weber. The principal vocal parts by Miss Goodall, Miss Cawse, Miss H. Cawse, Mr. Terrail, Mr. Hawes, Mr. Phillips, and Mr. Bellamy. Recit. ed Aria, Madame Pasta, ‘Che faro,’ (Orfeo) Gluck; Aria, Mr. Bellamy, ‘Lascia amor,’ (Orlando) Handel; Fantasia, with variations on the French air, ‘Au clair de la lune;’ (with orchestral accompaniments), for the grand pianoforte, Mr. Moscheles, Moscheles; Scena, Miss Paton, ‘Softly sighs the voice of evening,’ (Freyschutz) Weber; Duetto, Madame Ronzi de Begnis and Signor de Begnis, ‘Far calzette,’ Mosca; Coronation Anthem, Attwood; composed expressly for, and performed at the Coronation of his Majesty. Mr. Attwood will preside at the organ.
Part II.—Grand Overture to Freyschutz, Weber; Air, Mr. Braham; Recit. ed Arioso, (MS.) Miss Goodall, ‘Soft blowing zephyrs; (from the Cantata, the Liberation of Germany), Violoncello Obligato, Mr. Lindley, Winter; Solo, harp, Monsieur Labarre; in which will be introduced, with variations, the National Air, ‘Rule, Britannia,’ Labarre. Air, Miss H. Cawse, ‘Fly away, dove,’ Whitaker; Air, Mr. Phillips; ‘When forc’d from dear Hebe to go, Arne; Aria, Madame Sala.’ ‘Amor perche m’accendi.’ Mayer; Grand Chorus, ‘Hallelujah,’ (Messiah.) Handel. Tickets for the boxes and pit, 10s. 6d. and for the gallery 5s. the doors will be opened at 7, and the concert will commence at 8 o’clock. Subscriptions are received and tickets delivered at Messrs. Hammersley and Co.’s, bankers 76, Pall-mall; at the Secretary’s Mr. T. Rammond, Little Chapel-street, Soho; at the Treasurer’s, Joseph Kendrick, esq. 6, Upper Marylebone-street; at Mr. Ebers’, Bond-street; and at all the principal musicshops [sic].
Reviews
The Morning Post (June 6, 1825): 7.
NEW MUSICAL FUND CONCERT.
The Opera House was completely filled on Friday night with rank and beauty, who assembled on the occasion to promote Charity, as well as to enjoy a rich musical treat.
The Concert commenced with Selections from GRAUN’S Te Deum; to which followed a Cantata by WEBER, arranged by HAWES; the principal parts extremely well sung by Miss GOODALL, the Misses CAWSE; Messrs. TERRAILL, HAWES, PHILLIPS, and BELLAMY. The latter Gentleman gave a HANDEL’S “Lascia Amor,” with great energy. An apology was made for RONZI DE BEGNIS and Miss PATON.
MOSCHELES performed “Au clair de la lune,” with variations, on the Pianoforte (with orchestral accompaniments) in a must masterly manner. MADAME PASTA sung GLUCK’S “Eurydice,” in her best style, and was encored. The first part concluded with ATTWOOD’S Coronation Anthem, in the symphony to which, he has ingeniously introduced directly and indirectly “God save the King,” replete with scientific modulations. Mr. A. presided at the Organ.
The second part commenced with the Overture to Freischutz, which was encored. Then came our matchless BRAHAM, who sung “The Winter it is past,” with such feeling, expression, power, taste, and and [sic] yet with such simplicity withal, that a simultaneous burst of applause followed his last note, and an universal “encore! Encore!” induced him to repeat the Ballad with increased energy and effect. Miss GOODALL sung “Soft blowing Zephyrs,” in a very superior manner; she was accompanied by the [sic] LINDLEY—of course exquisitely.
Mon. LABÀRRE performed “Rule Britannia,” with variations, on the Harp, in a very excellent manner; he makes better use of his left hand than most performers on that instrument, and his tone is very sonorous and full.
Little CAWSE gave her “Fly away Dove” delightfully, and was loudly encored. The whole performance did credit to be the Conductor, Mr. SMART; the Leader, Mr. F. CRAMER; and the rest of the Performers. Who gave their valuables services on the benevolent occasion.
The Quarterly Musical Magazine and Review, vol. VII (June 1825): 206-208.
The concert for the benefit of the New Musical Fund took place at the Opera-house on the third of June. From such a society it may fairly be presumed the public has a title to expect one of the best concerts in London—but it so happened this year it was amongst the very worst. As we are anxious only for the interests of the art, we shall fasten upon this concert as exceedingly disgraceful—for if any thing ought to call forth the best exertions of the profession, it is when they undertake “kindly undertake” (that’s the phrase) to assist the charity with their “talents.” The performers announced were, Madame Ronzi De Begnis, Signor De Begnis, Madame Pasta, Miss Goodall, Madame Sala, the Misses Cawse, and Miss Paton—Mr. Braham, Mr. Terrail, Mr. Hawes, Mr. Phillips, and Mr. Bellamy. Madame De Begnis was indisposed, and Miss Paton was indisposed. Their absence was compensated by a certificate from Dr. Monck, a letter and a song from Signor De Begnis. Madame Pasta did not arrive till hours after her song was to have been sung—and then gave “Che faro,” an aria not very attractive at best, and now hacknied [sic] past endurance.* Mr. Braham sung a trumpery ballad. Miss H. Cawse, the little song from the Hebrew family, pretty, but merely pretty—Fly away Dove. Mr. Attwood’s Coronation Anthem, and some other things of little note, made up the rest of the vocal selection. Now we ask, is this such a concert as a society of musicians, anxious to serve their distressed connections, ought to put forth for the attraction of the town or for the advancement of the art, or for the benefit of the funds of such a society? We must say that it reflects great discredit upon all concerned. We must exempt from this general censure Mr. Moscheles and Mr. Labarre, whose concertos on the piano forte and the harp were as fine specimens of their great abilities as they could perhaps have exhibited.
Madame Sala (who had previously appeared at Mr. Sapio’s benefit) is a chaste singer in the sound Italian style of twenty years ago. Her voice is scarcely powerful enough for a large theatre, but her manner is pleasing, and in the chamber she would have considerable claims to estimation, where purity and polish are the substitutes for the force and contrast which public singing absolutely demands. The particulars we have recited will necessarily lead those, who seek in them a knowledge of the progress of art, to draw some general conclusions, and it is with this view, not less than with the desire of exhibiting the music of the Metropolis in its parts, that we have pursued our narrative. It is only by comparing the results of years that we can arrive at any accurate notion of the state of the science and the practice.
To imagine that art while exercised so universally can stand still, would be to indulge a belief that is contradicted by universal experience, and yet we perceive so little that is new in our record of the season, that we are almost at a loss to point out the nature of the progression. There can be no doubt however that the knowledge and love of instrumental music is gradually, and with an accelerated pace, stealing over English society. This in itself is a striking indication not only of superior cultivation but of superior acquirement; for instrumental music consists of a great variety of parts and powers; rightly to feel, is in a good measure to understand the distribution of these, and implies more attention and better information than those who draw their delight from vocal music, commonly profos3 to have attained. In the latter it is not merely the concord of sweet sounds that awakes emotions; sentiment is connected with melody, and all can appreciate the agreement of the two. But there is an uncertainty as well as a complication in concerted instrumental pieces, which demands to be reconciled to the mind by a comprehension of their structure, before they will convey to the hearer any intellectual, or perhaps even physical pleasure. The attention of the unitiated [sic] auditor is called off and distracted, so as to leave him rather in a state of confusion than of delight. We gather the fact of the diffusion of the love of instrumental performance from the attention paid to the overtures and symphonies in concerts, where they are now commonly repeated, and even at the theatres they have been frequently encored. Another auxiliary proof is the publication of arrangements for various instruments, principally indeed the flute, harp, violin, or violoncello, with the piano forte, but still the universality of such publications prove that they are in customary use, and what individuals assist in performing, they love to hear. The further this principle is carried the better, for nothing will tend so much to promote the art as the participation which every one who can play on an instrument enjoys. Every one desires to contribute to the general stock of amusement, and in proportion as they do so contribute, is the importance of individuals increased. But except in the diffusion, we know of no striking improvement that has attended the progression of instrumental performance this year. The musical world of London hails with triumph the return of such a man as Mr. Moscheles, or the accession of such players as Messrs. Vogt, Schuncke, and Labarre, to the orchestras of the Metropolis, but there has been no novelty either in composition or in execution to call forth extraordinary attention or comment.
*The writer of this article heard Madame P. sing it at four concerts out of five, and twice where other airs were announced. Such changes the public ought not to suffer.
Ignaz Moscheles' Concert Life 