Centenary of the birth of Joseph Haydn
London: Albion Tavern—Time: Dinner at Six o’Clock
↓Programme
| Glee for Four Voices, ‘By Celia’s arbour’ | Messrs. Blackburn, King, Moxlet, Parry jun. | Horsley |
| From The Creation Air, ‘Now Heaven in fullest glory shone’ | Mr. Purday | Haydn |
| Ode (by Barry Cornwall) | Arranged by Chevalier Neukomm | |
| Piano Andante with Variations in F minor | Mr. Field | Haydn |
| Piano Sonata | Mr. J. B. Cramer | Haydn |
| Piano Sonata | Mr. Moscheles | Haydn |
| Piano Duet Arrangement of Haydn’s Symphony No. 92 in G major, Oxford/Letter Q | Messrs. J. B. Cramer, Moscheles | Arranged by Miss Emily Gregg |
| Song, ‘The Spirit’s Song’ | Mr. Horn | Haydn |
| Quartet for Two Violins, Viola and a Violoncello | Messrs. Bohrer, Horn, J. B. Cramer, Praguer | Haydn |
| Principal Vocalists: Messrs. Blackburn, Horn, King, Moxlet, Parry jun., Purday |
| Principal Instrumentalists: Chevalier Neukomm, Messrs. Bohrer, Horn, Field, Moscheles, Praguer, Purday |
| Leader: Mr. Charles Weichsel; Conductor: Mr. Henry Bishop |
———————————
Moscheles: ‘Ninety-two of us musical men attended the dinner; the ladies occupied the gallery. Barry Cornwall wrote a song in praise of the great musician, and Neukomm introduced into his commemorative ode a number of his old master’s most beautiful airs. Field, Bohrer, and I played; we had choruses out of the ‘Creation,’ and the music was worthy of the occasion, but the endless toasts spoilt everything. Not only did we drink to the memory of the “immortal Haydn”, but all musical celebrities, living and dead, absent and present, were toasted; the consequence was that some of the executants’ fingers were rather heavy when it came to the second part of the music. We Germans on this occasion had clearly the best of it’.
RMM, 176.
Advertisements
Playbill
THE
Centenary of the Birth of Joseph Haydn,
CELEBRATED AT THE ALBION TAVERN,
LONDON,
MARCH 31st, 1832.
———————————
WILLIAM HORSLEY, MUS. AC.
PRESIDENT.
———————————
In the Course of the Evening will be Sung by MR PARRY, JUN. AND CHORUS
TH FOLLOWING
O D E,
WRITTEN FOR THE OCCASION BY BARRY CORNWALL,
THE MUSIC ARRANGED AND COMPOSED BY
THE CHEVALIER NEUKOMM,
PUPIL OF HAYDN.
———————————
Come forth, victorious Sounds,— from harp and horn,
From viol, and trump, and echoing instruments!
A Hundred Years! A Hundred Years—
Of toil and strife, of joys and tears,
Have risen to life, and died ’midst vain laments,
Since that harmonious Morn,
Whereon the Muse’s mighty was born!
Sound—immortal Music sound!
Bid the golden Words go ’round!
Every heart and tongue proclaim
HAYDN’S power and HAYDN’S fame!
Sing, how well he earned his glory!
Sing, how he shall live in story!
Sing, how he doth live in light,—
Shining, like a star, above us,
Bending down to cheer and love us,
Crowned with his own divine delight!
Sound—immortal Music, sound!
Bid thy golden Words go round!
Every grand and gentle tone,
Every truth he made his own;
Gathering, from the human Mind,
All the bloom that Poets find,—
Gathering, from the winds, and Ocean,
Dreams, to feed his high emotion,
When the Muse was past controul,—
Gathering, from all things that roll
Within Time’s vast and starry round,
The thoughts that give a soul to sound!
ALSO, A SELECTION FROM THE COMPOSITIONS OF HAYDN,
Will be performed,—namely,
| Solo Piano Forte – – – – | Mr J. B. CRAMER. | |
| Solo Piano Forte – – – – | Mr MOSCHELES. | |
| Andante with Variations, Piano Forte | Mr FIELD. | |
| Grand Duet Piano Forte (Sinfonia in G) – – | Mr J. B. CRAMER and Mr MOSCHELES. |
Mr. BOHRER will take the principal Violin in a Quartetto.
Mr VAUGHAN, Mr HORN, Mr HORNCASTLE, Mr PURDAY, Mr KING, Mr G. PYNE, Mr BLACKBURN, Mr PARRY, Jun. &c. &c.
Will sing several of Haydn’s Vocal Compositions.
[GB-Lbl Playbills 320]
The Athenæum (March 24, 1832): 104.
It is in contemplation to celebrate the centenary of the birth of Haydn on Saturday, the 31st instant, at the Albion Tavern. Messrs. J. Cramer and Moscheles have issued circulars to the leading men in the profession, but Saturday is a day when many are necessarily engaged at the Opera; besides which, it is thought that a more credit able celebration would be a musical performance, consisting entirely of a selection from Haydn’s works—the proceeds of which might go towards some musical society for charitable purposes.
Reviews
The Atlas (April 1, 1832): 216.
CENTENARY OF THE BIRTH OF JOSEPH HAYDN—SATURDAY.
A law assembly of the musical profession met this evening to commemorate the above, at the Albion Tavern, Aldersgate-street. After dinner, an ode, written for the occasion by Barry Cornwall, and arranged by the Chevalier Neukomm, from subjects of Haydn’s most celebrated compositions, was performed by Messrs. Horn, Parry, Purday, &c. Sonatas for the pianoforte were performed by Messrs. J. B. Cramer and Moscheles. An andante with variations was performed by Mr. John Field; and Mr. Bohrer played one of Haydn’s most popular quartetts. The utmost enthusiasm prevailed; Haydn seemed rescued from that oblivion into which his works have unfortunately fallen. We shall return to the subject at length next week.
Morning Advertiser (April 2, 1832): 1.
COMMEMORATION OF HAYDN.*
The centenary of the birth of Joseph Haydn was celebrated at the Albion Tavern on Saturday evening. About ninety gentlemen, including many musicians of the highest rank, sat down to dinner; and after the vulgar ceremony of eating was over, no fewer than fifty of the fair sex were ushered in to grace the occasion with their presence. Mr. Horsley acquitted himself in the chair with this well-known ability. After “the memory of Haydn” was drank in the respectful silence, the following Ode, written for the occasion by Barry Cornwall, and adapted, with much ingenuity, by the Chevalier Neukomm (Haydn’s favourite pupil) to many of his popular subjects, was performed with much applause.
“Come forth, victorious Sounds,— from harp and horn,
From viol, and trump, and echoing instruments!
A Hundred Years! A Hundred Years—
Of toil and strife, of joys and tears,
Have risen to life, and died ’midst vain laments,
Since that harmonious morn,
Whereon the Muse’s mighty was born!
Sound—immortal Music sound!
Bid the golden Words go ’round!
Every heart and tongue proclaim,
Haydn’s power and Haydn’s fame!
Sing, how well he earned his glory!
Sing, how he shall live in story!
Sing, how he doth live in light,
Shining, like a star, above us,
Bending down to cheer and love us,
Crowned with his own divine delight!
Sound—immortal Music, sound!
Bid thy golden Words go round!
Every grand and gentle tone,
Every truth he made his own;
Gathering, from the human Mind,
All the bloom that Poets find,—
Gathering, from the winds, and Ocean,
Dreams, to feed his high emotion,
When the Muse was past controul [sic],—
Gathering, from all things that roll
Within Time’s vast and starry round,
The thoughts that give a soul to sound!”
The great musical treats of the evening, however, were the successive performance of Cramer, Moschelles, and Field; who each played a selection from Haydn’s piano-forte music, which, though not quite of the Herz order of merit, yet came upon all who heard it with the freshness of novelty, and roused them to enthusiasm.
Various appropriate toasts were given in the course of the evening; and the Chairman, in proposing the health of the ladies present, observed that Haydn was well known for his partiality to the sex, and that it was not, therefore, wonderful that he should speak so strongly to the affections through the medium of his music.
Messrs. Cramer and Moscheles delighted us with Haydn’s Symphony in G, (the same as played at the second Philharmonic Concert), arranged as a Pianoforte duet by a talented lady, whose name was not mentioned by the Chairman; and Mr. Bohrer led a quartett of the very highest order in an admirable manner. In short, we may say that we have never been more highly gratified with any meeting of the kind.
We understand that the nobler tribute to the memory of Haydn—the performance, namely, in Westminster Abbey, of his great vocal and instrumental Works—is still in contemplation; and that this would have been given on the centenary of his birth, had it not been considered much too early in the season for the charitable purposes it is meant to serve.
The Globe and Traveller (April 2, 1832): 3.
Saturday the centenary birth-day to Haydn was commemorated at the Albion Tavern. About a hundred professors of music and amateurs sat down to dinner; Mr. Horsley in the chair. When the cloth was removed, about fifty ladies were ushered into the room, amid loud cheering. The chairman prefaced the toasts with pointed and well timed remarks; and when he drew the attention of the company to the object of their meeting, he paid a most eloquent tribute to the genius and talents of Haydn, and “His immortal memory” was given in silence, after which an ode written by Barry Cornwall, and adapted to selections from Haydn’s compositions by Chevalier Neukomm, was sung.
The Morning Post (April 2, 1832): 3.
COMMEMORATION OF HAYDN.*
It seldom falls to our lot to record the proceedings of a Meeting so interesting, social, and intellectual, as the one which took place at the Albion Tavern on Saturday last, in commemoration of the centenary birth-day of HAYDN.
At six o’clock about a hundred professors of music and amateurs sat down to an excellent dinner, Mr. HORSLEY in the Chair, over whose head was placed a portrait of HAYDN. When the cloth was removed about fifty Ladies were ushered into the room, amid the loud cheering of the company.
The CHAIRMAN prefaced all the toasts with some very pointed and well-timed remarks; and when he drew the attention of the company to the object, of their meeting, he paid a most eloquent tribute to the genius and talents of HAYDN, and “His immortal memory” was given in silence; after which the following beautiful Ode, written by BARRY CORNWALL, and adapted to selections from HAYDN’S compositions by the Chevalier NEUKOMM, was sung by Mr. PARRY, jun., and chorus:—
[see the playbill for the words of the ode]
It were [sic] a task of too great difficulty to describe the excellent manner in which NEUKOMM (who was a favourite pupil of HAYDN’S) arranged this Ode, the introduction to which was from the chorus The Heavens are telling, which was followed by morceaux from the sinfonias of HAYDN, also from The Creation and The Seasons. Nothing could be more touchingly beautiful than the manner in which the words commencing
“Every grand and gentle tone” &.c,
were adapted to the opening chorus in The Seasons. Come, gentle Spring; and the whole closed with the Hymn of God preserve the Emperor, most effectively and classically harmonised for four voices. In short, this Ode was worthy of the great occasion, and proved that the Chevalier had imbibed the spirit and feeling of his transcendent master. Mr. HORN sang the Spirit Song with true pathos and effect; and Mr. PURDAY gave with much energy Now Heaven in fullest glory. But what enhanced the interest of the meeting greatly was the presence of three of the first pianoforte-players in Europe, namely, Mr. J. B. CRAMER. Mr. MOSCHELES, and Mr. FIELD, each of whom performed a sonata of HAYDN’S composition. The greatest compliment we can pay them is to say that each acquitted himself in his best manner; and each, as he took his seat at the instrument, was loudly sheered by the company, who testified their delight by deafening plaudits.
Mr. CRAMER and MOSCHELES played HAYDN’S celebrated sinfonia in G, (known to professors by the letter Q), arranged by a Lady as a duet for the pianoforte, most admirably. A quartett for two violins, viola, and violoncello Was performed by BOHRER (who distinguished himself greatly), Mr. PRAGUER, Mr. HORN, and Mr. J. B. CRAMER, the two latter kindly taking the violino secondo and violo on the spur of the moment. T. HALL, Esq., barrister, proposed the health of the Chairman in a most elegant address, saying that as long as a taste for classical English music remained, the name of HORSLEY would be honoured. As a compliment to him his beautiful glee of By Celia’s Arbour was sung by Messrs. MOXLET, KING, BLACKBURN, and PARRY, jun. Had it not been an Opera night there would have been a host of talent present belonging to the orchestra of the King’s Theatre.
The whole festival was extremely well arranged and conducted; not a single hitch in any department, and, as the worthy Chairman stated, it will be a day that will be cherished in every one’s memory with pleasurable delight. We noticed the following musical persons present:—
Horsley, Cramer, Field, Moscheles, Addison, Worgar, Parry, Parry, jun., Perez, King, Kollmann, Novello, Binfield, Bohrer, Nelson, Wright, Rodwell, Purday, Haydon, Forbes, Abel, M’Murdie, Blackburn, Callcott, Roche, Liverati, Dragonetti, Moxley, Morley, Hunter, Horn, Aspull. Stockhausen, and most of the principal music-sellers in town.
The Chevalier NEUKOMM accompanied the vocal pieces on the pianoforte in a most able manner; and when his health, with that of BARRY CORNWALL (who was present), was given, and thanks to them for their excellent ode, NEUKOMM apologised for his inability to express himself in English as he could wish; but, added he, “the language of the heart is the same in all countries; believe me my thanks flow from that source.” CRAMER, MOSCHELES, and FIELD acknowledged the compliment paid them in appropriate terms, and this most interesting and delightful Meeting terminated about eleven o’clock.
*HAYDN was born at Rhorau, in Germany, March 31, 1732, and died on the 31st of May. 1819, at Grumpendorff (near Vienna) where he was buried.
The Morning Post (April 3, 1832): 3.
The Lady who arranged HAYDN’S Sinfonia in G, which was played by CRAMER and MOSCHELES at the commemoration of HAYDN’S Centenary, on Friday, is Miss EMILY GREGG a celebrated musician.
The Guardian and Public Ledger (April 4, 1832): 1.
THE CENTENARY OF HAYDN.—Saturday, the centenary birth-day of Haydn was commemorated at the Albion Tavern. About a hundred professors of music and amateurs sat down to dinner; Mr. Horsley in the Chair. When the cloth was removed about 50 ladies were ushered into the room, amid loud cheering. The Chairman prefaced the toasts with pointed and well-timed remarks; and when he drew the attention of the company to the object their meeting, he paid a most eloquent tribute to the genius and talents of Haydn, and “his immortal memory” was given in silence; after which an ode, written by Barry Cornwall, and adapted to selections from Haydn’s compositions by Chevalier Neukomm, was sung.
The Spectator (April 7, 1832): 324.
CENTENARY OF HAYDN.—The following report appeared only in our second edition last Saturday.—
The Centenary of the birth of JOSEPH HAYDN was celebrated at the Albion Tavern this evening. About ninety gentlemen, including many musicians, of the highest rank, sat down to dinner; and after the vulgar ceremony of eating was over, no fewer than fifty of the fair sex were ushered in to grace the occasion with their presence. Mr. HORSLEY acquitted himself in the chair with his well-known ability. After “the memory of Haydn” was drunk in respectful silence, the following Ode, written for the occasion by BARRY CORNWALL, and adapted, with much ingenuity, by the Chevalier NEUKOMM, (HAYDN’S favourite pupil) to many of his popular subjects, was performed with much applause.
Come forth, victorious Sounds,— from harp and horn,
From viol, and trump, and echoing instruments!
A Hundred Years! A Hundred Years—
Of toil and strife, of joys and tears,
Have risen to life, and died ’midst vain laments,
Since that harmonious Morn,
Whereon the Muse’s mighty was born!
Sound—immortal Music sound!
Bid the golden Words go ’round!
Every heart and tongue proclaim
HAYDN’S power and HAYDN’S fame!
Sing, how well he earned his glory!
Sing, how he shall live in story!
Sing, how he doth live in light,—
Shining, like a star, above us,
Bending down to cheer and love us,
Crown’d with his own divine delight!
Sound—immortal Music, sound!
Bid thy golden Words go round!
Every grand and gentle tone,
Every truth he made his own;
Gathering, from the human Mind,
All the bloom that Poets find,—
Gathering, from the winds, and Ocean,
Dreams, to feed his high emotion,
When the Muse was past controul [sic],—
Gathering, from all things that roll
Within Time’s vast and starry round,
The thoughts that give a soul to sound!
The great musical treats of the evening, however, were the successive performances of CRAMER, MOSCHELES, and FIELD; who each played a selection from HAYDN’S Pianoforte music, which, though not quite of the Herz order of merit, yet came upon all who heard it with the freshness of novelty, and roused them to enthusiasm.
Various appropriate toasts were given in the course of the evening; and the Chairman, in proposing the health of the ladies present, observed that HAYDN was well known for his partiality to the sex, and that it was not therefore wonderful that he should speak so strongly to the affections through the medium of his music. Messrs. CRAMER and MOSCHELES delighted us with HAYDN’S Symphony in G, (the same as played at the second Philharmonic Concert), arranged as a Pianoforte duet by a talented lady, whose name was not mentioned by the Chairman. And Mr. BOHRER led a quartett of the very highest order in an admirable manner. In short, we may say that we have never been more highly gratified with any meeting of the kind.
We understand that the nobler tribute to the memory of HAYDN—the performance, namely, in Westminster Abbey, of his great Vocal and Instrumental Works—is still in contemplation; and that this would have been given on the centenary of his birth, had it not been considered much too early in the season for the charitable purposes it is meant to serve.
The Bell’s New Weekly Messenger (April 8, 1832): 113.
The Centenary of Haydn.
The dining business at the Albion on Saturday in celebration of the above, has, we understand, scandalized some good folks, as an indulgence too gross and sensual for the occasion. Until, however, some better plan is devised, we must number ourselves among the festive faction—for (as we are told every Sunday) man is a frail creature. The highest admiration of genius will droop unless fed with a moderate share of the good things of this life. A concert would not have answered the purpose; beside its coldness and formality, it offers no occasion for an address upon the subject which has brought the company together.
In the event of celebrations of this kind becoming prevalent in England, which, for the encouragement of good taste we sincerely desire that they may, there will be a new gratification for the amateur—that of hearing the best performances in private. The playing of the most distinguished artists must, after all, be referred to some standard of excellence, the ideal of which, we are persuaded, will not be found in the orchestra; and they who have had the good fortune to hear performers in their careless moments of leisure, will not be slow to acknowledge the truth of this remark. JOHN CRAMER is never more JOHN CRAMER (that is one of the most admirable pianoforte players that ever existed) than at about twelve or one o’clock in the day. WESLEY was finest at two o’clock in the morning; that was the precise time to give him a canto fermo to extemporise upon, always presupposing good dinner and wine out of rare bin. The Pope’s mule, it is said, will only drink at his hours, and with musicians. MOSCHELES, we imagine, is better at some times than others, and that JOHN FIELD is, we are sure.
The meeting at the Albion turned out upon the whole very pleasantly: the dinner was well eaten, and the music well played; all was good except the extempore bass to “God Save the King”—and the octaves to the middle part of “Non nobis,” which some of the party volunteered. BARRY CORNWALL’S, which was most judiciously arranged to well-known subjects from HAYDN’S “Creation,” “Seasons,” symphonies, &c. was received with great applause, and the ingenuity with which the passages were interwoven (though collected from materials the most distant, yet falling naturally into one another), surprised the company. The well-imagined compliment of the Chevalier NEUKOMM to his illustrious master was fully appreciated.
Nothing could be more welcome or newer than the pianoforte music. The sonatas of HAYDN are now so totally unused, that if there were not something in them beyond the reach of time, their style would be nearly lost. The exquisite touch of J. B. Cramer will, we imagine, never be equalled—a quality of tone follows his fingers which is in vain sought elsewhere. The difference of tone between three players was very remarkable. MOSCHELES has a very powerful hand upon the instrument without the clearness and elasticity. FIELD has an extremely clear finger without the same refinement of taste. Each has, doubtless, his peculiar excellence; and in the composition selected, gave the composer’s work its fullest effect. The only composition which recognised was the andante with variations, in F minor, played by FIELD. The speeches of Mr. HORSLEY, the chairman, were brief and to the point. He eulogized HAYDN as a great inventor, as a man whom difficulties were unable to repress as one who had gained eminence from an [*] station, as an honest man, as an admirer of the fair sex, &c. The ladies having just entered the root, at this part of the chairman’s speech, we hold him excused for his gallant observation, though beyond the authority of a few little illegitimate children, we know not upon what he grounds his assertion. But these are perhaps a proof sufficient, and it is not necessary to enter into an investigation.
The Morning Post (April 13, 1832): 3.
HAYDN’S sinfonia in G, as arranged by Miss EMILY GREGG, and performed by MOSCHELES and J. B. CRAMER at the Centenary of that great master, is, by the express command of her MAJESTY, to be played at the next Philharmonic Concert.
Manchester Courier and Lancashire General Advertiser (April 14, 1832): 3.
COMMEMORATION OF HAYDN IN THE METROPOLIS. A meeting took place at the Albion Tavern, on Saturday [*] week in commemoration the centenary birthday of Haydn at which the following musical persons were present:—Horsley, Cramer, Field, Moscheles, Addison, Worgar, Parry, Parry, jun., Perez, King, Kollmann, Novello, Binheld, Bohrer, Nelson, Wright, Rodwell, Purday and many others. The latter gentleman gave “Now Heaven in fullest glory,” with much energy and good taste, which elicited great applause. The Chevalier Neukomm accompanied the vocal pieces on the piano-forte, in [*] manner. We believe the meeting terminated about eleven o’clock.
Northampton Mercury (April 14, 1832): 4.
On the 31st ult. a dinner was given at the Albion Tavern, by the Musical profession, to commemorate the centenary of the birth of the Immortal Haydn. After the removal of the cloth, a number of ladies were ushered into the room, when various pieces selected from this great master’s works were performed by Cramer, Moscheles, and Field: Haydn’s illustrious pupil, the Chevalier S. Neukomm was present on the occasion. We are informed that this gentleman is now at Manchester, to conduct the performance of his oratorio, “Mount Sinai,” which will take place on the 25th of this month.
The Harmonicon, vol. 10 (May 1832): 113.
THE CENTENARY OF THE BIRTH OF HAYDN
THIS was celebrated at the Albion tavern, on the 31st of March, by a dinner, at which nearly one hundred persons were present, including many professors, among whom were several of the most eminent, foreign and British, at that time in London. Mr. Horsley took the chair, and when the cloth was removed, a considerable number of ladies were introduced, as auditors, for whom convenient seats were provided at one end of the room. After the health of the King had been given, the chairman, in a short, but appropriate speech, drank TO THE MEMORY OF THE IMMORTAL HAYDN. This was followed by the performance of an Ode, written for the occasion, by BARRY CORNWALL, a pseudonyme, adopted, as our readers are aware, by one of the most distinguished poets of this distinguished age. The music adapted to this was chosen from the works of the great master, by his pupil, the Chevalier Neükomm, and sung by Mr. Parry, jun., assisted by a chorus. The following are the words of the ode:—
Come forth, victorious Sounds,—from harp and horn,
From viol, and trump, and echoing instruments!
A Hundred Years! A Hundred Years—
Of toil and strife, of joys and tears,
Have risen to life, and died ’midst vain laments,
Since that harmonious Morn,
Whereon the Muse’s mighty was born!
Sound—immortal Music sound!
Bid the golden Words go ’round!
Every heart and tongue proclaim
HAYDN’S power and HAYDN’S fame!
Sing, how well he earned his glory!
Sing, how he shall live in story!
Sing, how he doth live in light,—
Shining, like a star, above us,
Bending down to cheer and love us,
Crown’d with his own divine delight!
Sound—immortal Music, sound!
Bid thy golden Words go round!
Every grand and gentle tone,
Every truth he made his own;
Gathering, from the human Mind,
All the bloom that Poets find,—
Gathering, from the winds, and Ocean,
Dreams, to feed his high emotion,
When the Muse was past control,—
Gathering, from all things that roll
Within Time’s vast and starry round,
The thoughts that give a soul to sound!
This was followed by other compositions by Haydn:— Messrs. Cramer and Moscheles each performed a sonata; Mr. Field, an andante with variations, and the two former played the favourite symphony in G, arranged as a piano forte duet, by a talented young lady, an amateur. A violin quartet was also given, the first violin of which was taken by M. Bohrer; and some vocal pieces were performed by Messrs. Horn, Purday, King, G. Payne, and Blackburn.The day was passed in a very agreeable, satisfactory manner, and the conduct of it did credit to those gentlemen upon whom the arrangements devolved
Ignaz Moscheles' Concert Life 