London: Ignaz Moscheles’ Residence
|Grand Trio for Piano, Violin and Violoncello||Messrs. Moscheles, Cramer, Neald||Moscheles|
|Oratorio, The Resurrection||Neukomm|
|Recit. and Air||Mr. Parry jun.|
|Piano Duet||Messrs. Hummel, Moscheles|
|Principal Vocalists: Miss Cramer, Miss Masson, Miss Novelllo; Messrs. Parry jun., Vaughan|
|Principal Instrumentalists: Messrs. Cramer, Hummel, Moscheles, Neald|
|Leader: Mr. Franz Cramer|
The Globe and Traveller (June 1, 1831): 2.
A new oratorio, composed by Chevalier Neukomm called The Resurrection, was performed on Monday evening at Mr. Moscheles’ residence in the Regent’s Park. Miss Cramer, Miss Novello, and Miss Masson, Mr. Vaughan and Mr. Parry, jun. were the principal vocalists. This composition displays great originality. A recitative and song for a bass, sung by Parry, jun. descriptiveof the unbelief of St. Thomas, is, in particular, [*] accordingly fine composition. The choruses are also of [*]terly description. In the course of the evening, Hummel and Moscheles delighted the company with a duet on the piano-forte, the latter gentleman also played his new trio with Mr. Cramer, and Mr. Neald, violin and violoncello.
The Morning Post (June 1, 1831): 3.
On Monday evening a new Oratorio, composed by the Chevalier Neukomm, called The Resurrection, was performed at Mr. Moscheles’ residence, in the Regent’s Park. The principal vocalists were Miss CRAMER, Miss NOVELLE, and Miss MASSON, Mr. VAUGHAN and Mr. PARRY, jun., assisted by an efficient chorus composed of professors and amateurs, who sang con amore on the occasion. Mr. F. CRAMER had a select band.
Never was there more originality, combined with sublime effect, displayed in any composition of the same character; an Air for a soprano (sung [sic] by Miss CRAMER), and a song for a tenor (sung [sic] by Mr. VAUGHAN), are beautiful specimens of the Cantabile. A recitative and song for a bass, sung [sic] by PARRY, jun., descriptive of the unbelief of St. Thomas, may be reckoned among the finest declamatory compositions that were ever heard; the change from the dominant of F minor, where the disciple doubts that the Redeemer had appeared to several persons, and where he energetically says “Can I believe it?” to A, flat major, at the words,
“Oh! that mine eyes had again beheld him,”
is most beautiful and touching; and equally spirited, and, we may add, awful is it where his doubts return, and he cries out—“No! no! I’ll not believe it.”
The chorusses are most learned and masterly in their construction; and if performed by such a choir as that engaged at the York Festivals, they would be thrillingly effective. In the course of the evening the company were treated with some fine specimens of finished performances on the pianoforte, in a duetto by HUMMEL. and MOSCHELES; the latter played also his beautiful new trio with Mr. CRAMER and NEALD, violin and violoncello; and the whole concluded with a substantial proof of the hospitality of MOSCHELES and his amiable wife.
The Harmonicon, vol. 9 (June 1, 1831): 173.
EXTRACTS FROM THE DIARY OF A DILETTANTE
London, June 1, 1831.
——In The Globe of yesterday is an account of a private musical party, and as it has publicly appeared, I may venture to insert it in my Diary:—
‘A new oratorio by the Chevalier Neukomm, called ‘The Resurrection, was performed on Monday evening at Mr. Moscheles’ residence in the Regent’s Park. This composition displays great originality; a recitative and song for a bass, sung by Parry, jun., descriptive of the unbelief of St. Thomas, is, in particular, an exceedingly fine composition. In the course of the evening, Hummel and Moscheles delighted the company with a duet on the piano-forte; the latter gentleman also played his new trio with Mr. Cramer and Mr. Neate, as his coadjutors on the violin and violoncello.
The oratorio mentioned is of a superior order, but some of the words are so little adapted to music, that the accomplished composer, whose general critical judgment is equal to his musical ability, will do well either to paraphrase them, or substitute others. The duet was indeed charming, and heard to advantage in a comparatively small room. The trio will rank as M. Moscheles’ finest work, up to this time.