Third Subscription Concert
Bristol: Theatre Royal
Time: Evening, Half Past Seven o’Clock
Tickets: Subscribers 1 Guinea entitled to an admission ticket for each of the 4 concerts, Non-Subscribers: 7s., Gallery 3s., Boxes and Pit available
|Overture, Ciro in Babilonia ||Rossini|
|Storm Scene, Recit. and Air, ‘Fast into|
the wave’ (the words are selected
from Dr. Hurdis and Shenstone)
|From Le nozze di Figaro |
Recit., ‘E Susanna non vien!’
Aria, ‘Dove sono! i bei momenti’
|Recit. and Air, ‘Come, gentle spring’||Mr. Vaughan||Horsley|
|From Le nozze di Figaro |
Duet, ‘Sull’aria…che soave zeffiretto’
|Miss Stephens, Miss Field||Mozart|
|Grand Piano Variations on a Military March|
with Orch. Accomp. (Alexander Variations)
|From L’Allegro, il Penseroso ed il Moderato |
Recit., ‘First and chief, on golden wing’
Air, ‘Sweet Bird’
|Miss Stephens; |
Violin Accomp.: Mr. Loder
|Glee for Four Voices, ‘Oh Nanny, wilt thou gang with me’||Miss Stephens, Messrs. Leonard, Rolle, Vaughan||Carter and Harrison|
|Overture, Les voitures versées |
(second time in the country)
|Song, ‘Auld Robin Gray’||Miss Stephens||Rev. W. Leeves|
|Ballad, ‘Farewell to the Land of my Youth’ (new)||Mr. Vaughan||Emdin|
|From La clemenza di Scipione |
Aria, ‘Confusa, abbandonata’
|Free Piano Fantasia||Mr. Moscheles|
|Air, ‘We’re a noddin’||Miss Stephens||Arranged by Hawes|
|Air, ‘Nay, weep not, dear Ellen’||Mr. Rolle||C. Smith|
|Duet, ‘In joyful peace disarming’||Miss Stephens, Mr. Vaughan||Bishop|
|Finale, a Symphony Movement||Haydn|
|Principal Vocalists: Miss Field, Miss Stephens; Messrs. Leonard, Rolle, Vaughan|
|Principal Instrumentalists: Messrs. Loder, Moscheles, Murphy, Ray, Vaughan|
|Leader: Mr. John Loder; Conductor: Sir George Smart|
 On the advertisement it was advertised as ‘GRAND OVERTURE to Cyrus in Babylon. Performed for the first time in this country at the Oratorio in London on the 30th ult.—Rossini.
TUESDAY EVENING, Feb. 6, 1823.
Leader,……………… Mr. LODER.
Second Violin, Mr. VERSTEIN. | Violoncello, Mr. PIELE.
Conductor, …………………….. Sir GEORGE SMART.
The Managers most respectfully announce to the Subscribers and the Public, that they have received a Letter from Mr. BOCHSA, stating, that a severe COLD deprives him of the power to fulfil his Engagement to perform at the Bath and Bristol, on the 4th and 6th inst. The Managers regret this disappointment which it is not in their power to obviate, but in consequence they have the pleasure to state, that Mr. MOSCHELES has most kindly complied with their request and will play on an additional Piece, A FANTASIA EXTEMPORE on the GRAND PIANO-FORTE.
[The rest of the programme includes the pieces performed, including the lyrics of the songs]
[GB-Lbl Playbills 204]
Bristol Mirror (December 28, 1822): 2.
THEATRE ROYAL, BRISTOL.
FIRST SEASON OF THE FOUR
Under the management of
SIR GEORGE SMART and Mr. LODER.
THE Managers have the honour most respectfully to announce, that the FIRST CONCERT will take place On THURSDAY Evening, the 9th of January, 1823; and that the Concerts will be continued on the alternate Thursdays, till the series be completed.
Principal Vocal Performers already engaged:
|Mrs. SALMON||Mr. BRAHAM|
|Miss STEPHENS||Mr. SAPIO|
|Miss GOODALL||Signor BEGREZ|
|Master SMITH||Mr. VAUGHAN|
|Mademoiselle CARADORI;||Mr. A. LODER|
|Miss GEORGE||Mr. MANNERS|
|Miss NOEL,||Mr. LEONARD|
|And Miss WOOD.||Mr. PHILLIPS|
|And Mr. ROLLE.|
Th [sic] following are engaged to perform in the course of the Concerts:
Mr. KIESEWETTER and Mr. MORI, Violins
Mr. BOCHSA and Mr. LORD, Harp.
Mr. HENRY FIELD, Piano-Forte.
Mr. MORI, Mr. LODER, and Mr. KIESEWETTER.
Sir GEORGE SMART and Mr. WINDSOR.
The Managers most respectfully announce, that they have made proposals to Madame RONZI DEBEGNIS, Signor DEBEGNIS, and Mr. LINDLEY, to perform at the above Concerts during the Season. The delay of positive answers must (at present) depend on the arrangements of the Opera House. An engagement has also been offered to Mr. MOSCHELLES, is daily expected from the Continent, which only awaits that Gentleman’s arrival to be concluded.
Subscription Booksare now opened at the Music Warehouse on the following terms, viz a Subscriber of one Guinea will be entitled to an Admission Ticket for each of the Four Concerts, transferable.
Non-Subscribers’ Tickets Seven Shillings each, for Boxes or Pit, to be had at the Music-Warehouses, and at the Theatre, where places may be secured for the Boxes (only) as usual. Admission to the Gallery, Three Shillings.
The doors will be opened at half-past Six, and the performance will commence precisely at half-past Seven.
The Subscribers are respectfully requested to apply for their Tickets at the places where their Subscriptions are paid.
Bristol Mirror (February 1, 1823): 3.
THEATRE ROYAL, BRISTOL.
THE Nobility and Gentry, Subscribers and the
Public, are most respectfully acquainted, that the
Third Subscription Concert
Will take place on THURSDAY next, February 6.
Principal Vocal Performers:
Miss STEPHENS, (positively for this night only.)
Miss FIELD, (her second public appearance)
Mr. LEONARD, Mr. ROLLE, and Mr. VAUGHAN
Mr. BOCHSA (for this night only) will perform a Fantasia
on the Harp.
Mr. MOSCHELLES (positively for this night only) will perform
On the Piano-Forte, with Orchestral Accompaniments, The
Emperor Alexander’s favourite March, with Variations.
Leader. . . .Mr. LODER.
Conductor SIR GEORGE SMART.
The doors will be opened at half-past Six, and the Performance commence at half-past Seven.—Non-Subscribers’ Tickets for Boxes or Pit, 7s. each; Gallery Tickets, 3s. each, to be had at the Music Warehouses, and at the Theatre.
Bristol Mercury (February 3, 1823): 3.
Theatre Royal, BRISTOL.
THENobility and Gentry, Subscribers and the Public,
are most respectfully acquainted, that the
Will take place on THURSDAY next, February 6.
Principal Vocal Performers:
Miss STEPHENS, (positively for this night only.)
Miss FIELD, (her second public appearance)
Mr. LEONARD, Mr. ROLLE,
and Mr. VAUGHAN, (his only appearance this season.)
(For this night only) will perform a Fantasia on the Harp.
(Positively for this Night only) will perform on the Piano-Forte,
with Orchestral Accompaniments, The Emperor Alexander’s
favourite March, with Variations.
Conductor……………………SIR GEORGE SMART.
The doors will be opened at half-past Six, and the Performance to commence at half-past Seven.
Non-Subscribers’ Tickets for Boxes or Pit, 7s. each; Gallery Tickets, 3s. each, to be had at the Music Warehouses, and at the Theatre.
Bristol Mirror (February 8, 1823): 3.
The Concert on Last Thursday evening, commenced with the new Overture to Cyrus in Babylon, by Rossini,—decidedly the worst we have yet heard from the pen of that composer. We cannot deny that it produces a brilliant effect, and is, in many instances full of ingenuity; but as a composition, it cannot be compared with his other overtures. The overture by Boieldieu with which the second act opened, is one of the most trumpery things that we have heard for a long time, and we cannot but wonder that it should have been selected, when so many excellent overtures of Mozart, Cherubini, and others, were lying on the shelf. The best piece of instrumental music that was performed, was the movement by Haydn, played when the audience (to their shame be it spoken) were leaving the house. We regret that the Sinfonia, from which it was taken, was not substituted for the French overture; we are sure that that it would have given more satisfaction.
Miss Stephens sang Mozart’s “Dove sono,” and the duet with Miss Field, very sweetly and expressively; and her exertions in “Sweet Bird” were loudly applauded; but that which most deserved applause, was Mr. Loder’s violin accompaniment, which, if he had never played any thing else, would have secured him the reputation of being a performer of the first class. The other songs set down for Miss Stephens were given with great feeling, and produced the most exquisite sensations of delight.
Miss Field made her debut very successfully. There is a thinness in her voice which impoverishes her singing; but she executes with great precision and effect. The Aria, of Bach, in the second act, is what no ordinary singer could attempt; and when we say that Miss Field accomplished the performance of it most triumphantly, we express no mean opinion of her abilities.
Mr. Vaughan has long stood foremost on the list of English tenor singers, and still maintains his place. There is a gentleman-like stile in his singing, which distinguishes it from what we are generally in the habit of hearing. All his embellishments are governed by the most correct and classical taste. In the glee, “Oh, Nanny,” Mr. Vaughan’s voice told most effectively. We hope that this will not be the last glee which we shall hear during the present Concerts.
Mr. Rolle gave Bishop’s splendid song, “Fast into the wave,” with all that force which might be expected from his one voice and well-known talents. The performance of the rest of his songs was such as could not fail to add considerably to the high reputation which he has already obtained.
If we say but little of Mr. Moscheles, it is because we cannot find terms capable of conveying our admiration of his piano-forte playing. His execution of the Emperor Alexander’s March, was quite sufficient to inform us, that one of the greatest practical musicians in the world stood before us; but his performance of the Fantasia excited a mingled sensation in which increased wonder and pleasure struggled for precedence. To go into a criticism of his playing, would require more room than we can spare; and if we described it all, we should not like to pass him over hastily; therefore we shall content ourselves with a general declaration, that we believe him to be one of the most astonishing players in the world.
Mr. Bochsa is staled to have written a letter, excusing himself from attending the Concert, on account of ill health. We hope that his health will be sufficiently renovated to enable him to perform at the ensuing Concert, where, we have no doubt, he will make his appearance.
The audience was numerous and fashionable, notwithstanding the inclemency of the weather.
Bristol Mercury (February 10, 1823): 3.
BRISTOL SUBSCRIPTION CONCERTS.—No. III.
Thursday, February 6.
One of the inexhaustible Rossini’s operatic Overtures opened the performance of this evening, and was another proof of the search after novelty on the part of the Managers. It was brilliant and effective. and, without exciting much feeling, was pleasant and light. The beautiful Recitative and Air of Bishop’s which followed, is a splendid display of invention and science. For descriptive beauty and painting it is worthy of being named with Haydn’s similar efforts in the Creation, and beyond those who will ever go? Mr. Rolle sang it admirably; and the very considerable contrast of the ballet of Smith’s, which he sang in the second mov. exhibited a variety of expression and happy adaptation to the character of the words unequivocally demonstrative of Mr. Rolle’s possession of requisites beyond those merely professional. Miss Stephens, by the selection, did her judgement honour equal to the beauty of her delivery of the divine Mozart’s elegant Air, “Dove sono,” from Figaro. It was indeed a rich treat in every point and the delicious occasional combinations of the voice with the obligati wind instruments left nothing of softness or beauty unheard or unfelt. We beg our remark to apply particularly to the Oboe and Bassoon of Messrs. Ray & Murphy.
Mr. Vaughan made his debut for the present season in a song of Horsley’s, a very decided proof that his distinguished writer of admirable Glee’s is very intimately versed in orchestral effect. Being of the same class with the first song in the bill it suffered, as indeed everything must, by too immediate contract with Bishop’s superior genius. Mr. Vaughan sung elegantly, and pleased as he ever must; but when we contemplate this gentleman’s allowed rank in the profession, we certainly must express little surprise. With quality and quantity of tone equalled by many and often surpassed, Mr. Vaughan is a proof the existence of orthodoxy in music as well as in religion, and he still keeps his ground, as some opinions do, notwithstanding the change of every circumstance upon which they were founded.
Miss Field was introduced to a Bristol audience in the pretty letter Duet from Figaro, “Sul’aria,” which she sang with Miss Stephens. That Miss Field is an accomplished musician is implied in her name: that she possesses very extraordinary compass and power was indisputably proved by her performance of fine song of the classical Bachs; and when we look at her extreme youth we anticipate an increase and mellowness in tone, alone wanting to “wind up the charm” of an unquestionably fine singer. The English virtue of singing in tune she fully possesses, with a brilliant and well-defined shake, and is evidently endowed with a sensibility, without which singing must ever become mere mechanism.
The wonder of the Continent and the admiration of the Metropolis, Moscheles, played his celebrated variations on the Emperor’s March, and, in the second act, an extemporaneous effusion, as an apology for the absence of Bochsa. The very extraordinary powers, possessed by Mr. Moscheles, were developed in a manner fully corroborative of the extraordinary report of them. His brilliancy of touch, accuracy of execution, and almost breathing expression, placed his efforts among the greatest ever heard in the art. Mr. Moscheles exhibits a surprising width and strength of hand, and, among his peculiar features of excellence, must be enumerated his astonishing performances of passages in Octaves, with the rapidity of single notes. More delight as well as astonishment have seldom been excited that this gentleman’s performance called forth on the occasion we not commemorate, and we congratulate the Managers on the general appreciation of their efforts in entering their Concerts.
Mr. Loder accompanied Miss Stephens in “Sweet Bird,” and a very exquisite competition it was, both in tone and execution. To say that Mr. Loder fiddles well, is neither informative nor novelty but there are few who can appreciate those fine degrees of talent which give Mr. Loder distinction among the most distinguished. Mr. Loder executes finely, so do some others; but Mr. Loder accompanies with such ample display of instrumental skill, yet so tempered with reference to the partner of the task, such a subduing of tone (as the painters call it) such a perfect amalgamation of his own excellences into these of another, that we have never been more forcibly impressed with his superior merit than in those instances in which he has to admirably elevated others.
The Glee “O Nanny”, we pronounce, as well sang as possible, and the admirers of Airs harmonized had a rich treat, as the reader may conceive, in its performance by Miss Stephens, Vaughan, Leonard, and Rolle. The second Act commenced with an Overture by Boieldieu, to “Les Voitures versées,” an immense favourite in Paris, and truly a very “a la Français” sort of thing. Very lively, very striking, and presenting pretty detached passaged, and opposing instrumental effects. Miss Stephens sang Mr. Leaves’ inspired Air to “Auld Robin Grey,” and we wish that all France, Italy, and Germany could have heard an English Air sang by an English woman. The instrumental arrangement was not English, but Irish, for the accompaniment of the orchestra was tacet during the singing, and merely supported the symphony, with the exception of two or three bars of horns. We suspect, this to be done by Mr. Hawes, of the Royal Harmonie Music-shop, who, like Dibdin’s,
“On every thing he lays his claw,”
and proves to be nobody at last. Mr. Vaughan sang a very beautiful ballad of Emdin’s, “Farewell to the Land of my Youth;” and Miss Stephens to the superseding of all nodding, even in the eave of Trombonists himself, sung “we’re a’ nodding.” This, with Bishop’s charming duet “in joyful peace,” was with Mr. Vaughan, closed the performance, for the audience routed out during the movement from Haydn, announced as the finale, as if it were the moral of Comedy or the greeting of a shabby acquaintance.
Bristol Mirror (February 22, 1823): 3.
….On a former occasion we promised to consider the merits of the Instrumental Performers, and we shall now redeem that promise. Hitherto our remarks have been confined to singers and solo-players,—of whom we have candidly and unhesitatingly expressed our opinion. If we have been occasionally disposed to censure, we have always been ready to praise, where praise seemed to be due; and, therefore, it is a satisfaction to us to know, that our commendation has been more liberally bestowed than our disapprobation. We do not wish to revisit any thing that we may have pronounced blameworthy; but as a remark that we made on Mr. Lindley’s Concerto has been alluded to, and completely misunderstood by more than one of our Contemporaries, we may as well, now we have an opportunity, offer an explanation. We certainly did object to the Concerto in question; we called it “a hodge-podge of tunes;” and by this, we have been understood to protest against the introduction of popular melodies in music of this description. But we had no intention of doing any such thing. It was not because Mr. Lindley introduced popular airs that we objected, but because they were vulgar and ill-selected, and harmonised in a style that we think more worth of Mr. Logier’s eight-year-old show pupils, then such a man as Mr. Lindley. To justify what we have stated, we need only mention the air of “Here’s a health to all good lasses,” which was played in three parts, just as it may be found written in any old glee book. In vindication of Lindley, it has been said, that Beethoven has adopted popular melodies. But will any one venture to compare any thing of the kind that he has done, with the concluding movement of Mr. Lindley’s Concert! The same remark is applicable to the performance of Mori and Mochelles [sic]. Both of them introduced popular airs,—but then, those airs were harmonised and (particularly in Mochelles’s [sic] fantasia) treated with ingenuity and consummate science. There lies all the difference. A dinner is a dinner; but out appetite for it is materially influenced by good or bad cooking! But we are digressing at too great a length, and therefore we will return to the Orchestra. In criticising the instrumental band attached to these Concerts, we proceed with the greatest pleasure, because we are able to hear the most ample and sincere testimony to its excellence. Speaking of it generally, we could have wished that the Violoncellos were more numerous; but more, we fear, were not to be obtained. In going into detail, we must begin with Loder. It may seem superfluous to speak of a man so well known to our Readers; but we do so, because we are sure that there are not fifty people in Bristol that can properly estimate his merit. Every one calls him a good leader, but few know the meaning of that word leader. To hear and see Loder dash off a rattling overture gives no explanation of the term. To understand it, one must attend rehearsal, and witness the laborious ceremony of drilling an orchestra. In London, even where the leader is attended by the most accomplished performers, this is often an arduous task; but in provincial places, where many in the band are imperfectly skilled, the difficulty prodigiously increases we are desirous of giving such of our Readers as are uninformed on the subject, an idea of the duties which a person, in the situation of Mr. Loder, has to perform: because, although he, like many a painter, often presents the public with a performance which excites admiration, few know, or inquire, or care, how much trouble and labour have been previously bestowed on it behind the curtain. For explanation’s sake, then, we will supposed a leader about to try over with his band a new symphony. In the first place, it is, if not necessary, certainly convenient, that he should, before entering the orchestra, peruse the score [*] of the piece about to be tried. Now, the score of many symphonies consists of more than sixteen distinct parts, each of which is required to be played by a particular instrument. Having examined the score, so as to gain a general knowledge of the principal subjects of the composition,—of the most conspicuous points and passages, and of the different effects intended to be produced,—the leader is in a situation to commence his functions. Supposing every thing to be arranged, he, on commencing, encounters a duty of a two-fold nature. First, to play the first violin part, which carries the principal melody, and is generally more difficult than any of the other parts; and, secondly, at the same time that he performs his own part correctly, to attend to all the rest of his orchestra. If any one of the performers under his guidance play a wrong note, or too loud, or with a wrong emphasis, it lies with him to detect, point out, and correct the error. In fact, his mind must range over the individual and collective performances of the orchestra, and keep each one, and all, from wandering out of that path which the composer has marked out, but it sometimes—perhaps most commonly—happens that a leader commences the trial of a piece, without having had the time or opportunity to inspect the score; and in that case, he is obliged to gain an acquaintance with it as the band proceed. Here his difficulties multiply, because he is obliged, when practising his followers, to discover any inaccuracy in their playing, by anticipating, or immediately perceiving, the meaning of the composer. As it is not within the power of manty to do this, it is not to be expected that many good leaders should be found in the world. There are a few, however, whose abilities in this respect have marked them out from the rest of their profession, and of that few we know not any one that surpasses Loder. If we add, that were Kiesewetter, Mori, Vaccari, and all the fiddle players of that rate of ability, collected together. Loder would be found amongst the number, we shall merely give him the meed which he has earned. In speaking of the difficulties that a leader has to encounter, we must not omit to state, that those difficulties are in some measure abated by a skilful conductor, whose business it is to sit at the piano-forte with the score before him, to watch over the performance, and to assist the leader in bringing in any musician that may stray out of his course. But Mr. Loder is not always provided with a conductor, and in the absence of one, he never fails to display those extraordinary resources which enable him to dispense with such an assistant. We cannot quit our present theme without remarking, that Mr. Loder is as much at home in leading ancient music as modern. This is an ability not to be found in all great leaders. In addition to this, he has the art of infusing into the other performers, that fire and energy by which his own playing is distinguished—an art rarely found, and consequently highly to be valued in a leader.
The principal second Violin has been given to Mr. Verstein, who has shown himself a most efficient and superior performer. In the quartette, we had an opportunity of hearing him play a short solo, in a manner quite above the level of commonly good players.
The principal Violoncello is in very good hands. We have spoken of Mr. Piele before, and if we speak of him now, it is only to thank him for the gratification he has afforded us during the season.
We congratulate the Managers upon their collections of wind-instrument players. The Horns are excellent. The Oboes has been extremely well managed; and Mr. Powell’s Clarionet, Mr. Murphy’s Bassoon, and Mr. G. Loder’s Flute have been all highly ornamental to the Concerts. Want of room compels us to speak of the rest of the performers as a body; and as such, they form a corps of highly gifted musicians; many of their profession, than most of the singers wo have appeared here, and carried off so much money and applause.
Allgemeine musikalische Zeitung (April 1, 1823): 248-249.
Concerte zu Bath und Bristol. Hr. Loder, der berühmte Violinist und Sir George Smart haben dieses Jahr in genannten Städten eine Reihe von Concerten angefangen, die durch ihre vor treffliche Einrichtung und durch das Auftreten der ersten Sänger und Spieler Londons den philharmonischen Concerten wenig oder gar nichts nachgeben. Der Gegenstand der Bewunderung und Erstaunens war unser Moscheles, und wahrlich nichts kann über die Lobpreisung gehen, womit man ihn an beyden Orten überhäuft hat. Gegen 200 Personen, die sich ihn zu hören drängten, musste der Eingang verweigert werden und—was in englischen Concerten nie geschieht—die Damen verliessen ihre Sitze und drängten sich auf der Bühne nahe an ihn heran, um sein Spielen auch zu sehen. Der Zeitungsbericht aus Bristol, nachdem .er Hrn. M. für den erstaunlichsten Spieler in der Welt erklärt hat, schliesst mit einer Art von Wehmuth, dass die gegen wärtige Generation sich nicht Hoffnung machen dürfe, je etwas dem Aehnliches zu hören