8 January 1828

Ignaz Moscheles’ First Concert

Edinburgh: Assembly Rooms

Time: Evening, Eight o’Clock

Tickets: 7s., Sets of four for £1, 1s.

↓Programme

Air, ‘Lord, remember David’	Mr. Nonkes	Handel
Duet	Miss. E. Paton, Mr. Noakes
Free Piano Fantasia, incl. ‘Non più andrai’ and ‘Highland Laddie’	Mr. Moscheles

From Il crociato in Egitto Aria, ‘Ah, come rapida’	Miss. E. Paton	Meyerbeer
From Tancredi: Duet	Miss. E. Paton, [Mr. Noakes]	Rossini
Harp Fantasia	Mr. Taylor
Piano Fantasia, Anticipations of Scotland with Orchestral Accompaniments (composed expressly for the occasion)	Mr. Moscheles	Moscheles
Piano Concerto No.1 in F major: I) Allegro maestoso II) Adagio III) Alexander Variations	Mr. Moscheles	Moscheles
Song, ‘Echo Song’	Miss E. Paton	Bishop
Song, ‘My Love is far from me’	Miss E. Paton	Lindley

Principal Vocalists: Miss E. Paton; Mr. Noakes

Principal Instrumentalists: Messrs. Moscheles, Taylor

Leader: Mr. James Dewar

———————————

Programme Notes: Moscheles replaced the third movement of the concerto with the Alexander Variations.

Charlotte: Diese Winterreise, welche zu künstlerischen Zwecken vorbereitet und unternommen war, stiess auf ein grosses Hinderniss. Eine italienische Operngesellschaft, der eine bedeutende Subscriptionsliste vorausging, war auch soeben in Edinburgh angekommen und hatte, unbekümmert um das schon angekündigte Concert von Moscheles, den selben Abend zu ihrer Vorstellung bestimmt, absorbirte also Orchester und Publicum. Zwar wurde es wahr, was die Künstler behaupteten: Man werde mit Proben des Localchors und Orchesters bis zum anberaumten Tage nicht fertig werden, Moscheles solle den übrigens günstigen Concerttag also nicht verändern. Da die Opern-Vorstellung aber erst am selben Tage abgesagt wurde, so that sie dem Concert doch Eintrag, und da das Orchester und sein tüchtiger Director noch am Concertmorgen Theaterprobe hielten, so plagte sich Moscheles mit einigen zusammenhielten Musikern, „unter denen die Bläser (grösstentheils Regimentsmusiker) im Highland-Kilt mit unbekleideten Knieen erschienen und leider ihre Sache recht schlecht machte”. [AML I, 185-186.]

Charlotte: The concert room was only two-thirds full, but Moscheles, in his fantasia, the Anticipations of Scotland, created great enthusiasm; and the newspapers, one and all, condemned the apathy shown by this poor attendance at his concert. This appeal to the good sense of the Edinburgh folk had its effect, for the two next concerts were filled to overflowings’. [RMM, 135.]

The Morning Post (December 12, 1827): 3.

MOSCHELES is going to Edinburgh to delight the Scottish amateurs with his extraordinary performance on the piano-forte. He is composing a Piece, to be called “Anticipations of Scotland,” which we doubt not will prove as pleasing, both to the public and himself, as his “Recollections of Ireland” have been.

Edinburgh Evening Courant (January 7, 1828): 3.

….This week is going to be a busy one in musical entertainments. To-morrow evening, the celebrated Moscheles is to hold his first concert in the Assembly Rooms, where we doubt not every one who pretends to musical enjoyment will be forthcoming.

Edinburgh Evening Courant (January 7, 1828): 3.

GRAND CONCERT.

———

ASSEMBLY ROOMS, GEORGE STREET.

MR MOSCHELES, Professor of the Royal Academy of Music, has the honour to announce, that he will give a

CONCERT

To-morrow, TUESDAY the 8th January 1828, when he will perform on the Piano-Forte.

1st, A CONCERTO, in which he will introduce his Variations on “The Fall of Paris.”

2d, A New FANTASIA, called “Anticipations of Scotland,” (composed expressly for the occasion.)

3d, An EXTEMPORE FANTASIA on the Piano-Forte.

Miss E. PATON will sing several of her most favourite Songs.

Particulars will be further announced.

Tickets 7s. each, or Sets of four for £1, 1s. to be had at the principal Music Shops.

Doors open at seven o’clock, and the Concert will commence at eight o’clock precisely.

The Edinburgh Observer (January 8, 1828): 1.

GRAND CONCERT.

——

ASSEMBLY ROOMS, GEORGE STREET.

——

MR MOSCHELES, Professor of the Royal Academy of Music, has the honour to announce, that he will give a

CONCERT

This Evening, TUESDAY the 8th January 1828, when he will perform on the Piano-Forte,

1st, A CONCERTO, in which he will introduce his Variations on “The Fall of Paris.”

2d, A New FANTASIA, called “Anticipations of Scotland,” (composed expressly for the occasion.)

3d, An EXTEMPORE FANTASIA on the Piano-Forte.

Mr TAYLOR will perform a FANTASIA on the Harp.

Miss E. PATON will sing several of her most favourite Songs.

And Mr NOAKES will make his First Appearance in this City.

Mr JAMES DEWAR, Lender.

Tickets 7s. each, or Sets of four for £.1, 1s. to be had at the principal Music Shops.

Doors open at seven o’clock, and the Concert will commence at eight o’clock precisely.

Reviews

The Scotsman (January 9, 1828): 6.

MOSCHELES’ FIRST CONCERT.

It cannot be necessary to tell our Edinburgh renders, that Moscheles is the greatest piano-forte player in Europe—that he is supreme in taste, and a Master in Science—and yet if all this be matter of notoriety, how is it that Moscheles performed last night to an audience which occupied only an end of our Assembly Room? We do not pretend to account for the phenomenon; but we are sure it will not occur again. In the extemporaneous performance which the concert was closed, Moscheles astonished his hearers—not by the noise or hustle of his movements, but by the fertility of his invention, the purity of his style, the force and precision of his conceptions, the brilliancy and melodiousness of his touch. Every professor—every amateur was surprised and delighted. We need not, therefore, talk of the extend of our own gratification; though, had it been less, we probably should have said a little more. We must, add however, that Miss E. Paton seems improved, in every respect, by her recent excursion to the south.

Caledonian Mercury (January 10, 1828): 3.

MR. MOSCHELES’ CONCERT.

Mr Moschele’s fame as a piano forte player and composer is so well known, that we were not a little surprised to find his concert very thinly attended on Tuesday evening last. We are quite at a loss to account for the paucity of auditors. Madame Pasta gave some eight or nine concerts, and all were successful; the Italian opera has been drawing full houses, some of them overflowing, for nearly a month; Ducrow’s performances are so numerously attended that numbers are disappointed in gaining admittance, every night, and yet Moscheles’ failed in attracting even a moderate audience. It cannot be because these amusements have preceded Mr Moscheles; they are still hoping on with success, and upon Tuesday last there was no opera. For our own part, after hearing his brilliant performances, we hesitate not to say we prefer him, upon the whole, to any piano forte player with those performances we are acquainted. The concert [*] pieces judiciously selected, and afforded scope for the display of varied talent which was exhibited by the different performers with great effect; but the chief attraction of the evening was Mr Moscheles, whose unrivalled powers never fail to astonish and delight. On his entrance he was greeted with loud and enthusiastic applause, which continued for a considerable time. His first performance was the Concerto, in which he introduced his highly celebrated and favourite variations on the “Fall of Paris,” and a more masterly and highly finished performance was never before listened to. His next performance, “Anticipations of Scotland,” surpasses any thing of the kind we ever heard. The introduction is uncommonly beautiful, and the Scotch airs, “Kelvin Grove.” &c. with the variations, are full of originality and beauty. The whole piece was given with the most consummate taste and expression; and we have no doubt it will become standard article of concert music. The “Extemporaneous Performance” was replete with fancy and imagination, and had all the effect of a studied production of no ordinary description. The concert had the assistance of Miss. E. Paton, who sung several songs and duets. Lindley’s “My Love is far from me,” was not very effective, and the same may be said of her “Echo Song,” while the echo is made with the flute instead of her own voice—a necessity which mars the principal effect of this beautiful but difficult song. She however sung with all her usual finish and execution, the scena ed aria ‘Ah come rapida,” from Meyerbeer, and in a Duet from “Il Tancredi.” Mr Nonkes made a favourable appearance as a singer. He sung very sweetly, Handel’s “Lord Remember David,” and also in a duet with Miss E. Paton. Mr Taylor gave a fantasia on the harp, which was much admired; and the whole was received with frequent marks of approbation.

Edinburgh Evening Courant (January 10, 1828): 2.

MR. MOSCHELES’ CONCERT.

The postponement of the production of “La Gazza Laddra,” at the Theatre, came too late to be of any service to this celebrated performer, who gave his first Concert in the Assembly Rooms, on Tuesday evening. We know it was not decided till after the Opera on Monday, that “La Gazza Laddra” should be deferred till to-day. We are grateful, very grateful, for the entertainment which Signor de Begnis and his corps have afforded us since they came here; and we only regret that they leave us so soon; but there are just some little things which our anxiety to do justice and to find justice done to every candidate for public favour in this city, have compelled us to question; and which we hope will not again occur.

From what we have said, our readers will easily infer, that in point of attendance, Moscheles’ Concert was all but a failure, there bring no more than about a hundred, and several of these not paying! We looked in vain for any of the fashionables, who were wont to grace the Assembly Rooms on all such occasions; but let them not allow his next Concert (which, we believe, is to take place on Friday week) to stamp their character of indifference to the most accomplished performer on the piano-forte who has ever honoured Edinburgh with a visit. They have no idea of his powers by all that we can say of him. He must be heard to be appreciated. If Cramer was upon us by his matchless expression, Moscheles carries us by storm, as well by splendour and power of his execution, as by the exquisite delicacy of his expression. His touch is light, elegant, and brilliant. He laughs at difficulties, dashing them off with inconceivable case, and at the same time throwing into them all possible effect. It is not the conquering of difficulties—these are of secondary consequence. It is the style of performing them which marks the great player. And how superb is his style! His concerto in F major is one of his earliest and perhaps, comparatively speaking, his least difficult compositions [sic]. But it abounds in fine broad masses of harmony for the orchestra, and passages of enchanting grace and beauty for the piano forte. It is full of fancy and science, and as a composition bears a striking similarity to Mozart’s, which is surely saying as much as possible. Instead of the adagio and rondo belonging to the concerto, he finished it with his celebrated “Fall of Paris,” a composition in every way worthy of its author. The excessive difficulty of this piece has not prevented it from being murdered by the fingers of boarding-school misses. We have heard it played in this way more than once, and we have listened to its performance in public by very clever players, but certainly we never till the other evening became thoroughly acquainted with the beauty of the composition, and the magic of its effect. There was perhaps none among all his numerous operas more admirably adapted for the display of all his powers. We do not think his “Anticipations of Scotland” has been produced in a moment of inspiration; but we feel highly honoured by his kind intentions.—There are, however, some fine and striking passages here and there. His florid harmony on the recurrence of “Kelvin Grove,” and the occasional introduction of fragments of several airs into his modulations, are exceedingly happy and effective; and the manner in which the reel is arranged, and worked up, is masterly and exhilarating. His greatest triumph, on Tuesday evening, was undoubtedly his extemporaneous Fantasia. It was exactly what this species of composition should be, namely—wild, fanciful, scientific, and sprinkled with traits of melody, wrought into a thousand playful forms. In listening to this performance, we felt an enthusiasm of delight, which is quite indescribable; and at its conclusion we fell into a sort of delirium, out of which we did not emerge till we heard the thunders of ecstatic applause which broke forth. How admirably did he introduce “Non pui andrai,” and how endless the variety of forms into which he worked it! And then, as if to shew the inexhaustible resources of his art, with what masterly contrivance did he interweave it with the Highland Laddie into a thousand hues, “the last still loveliest!”

We have left ourselves little room to say much respecting the other performers. Mr. Nonkes, from Durham Cathedral, made his first appearance in “Lord remember David,” which he sung with much taste and feeling. He has a fine voice, and a good shake. We revise him not to attempt Italian music till he acquires a better pronunciation of the language. Miss E. Paton is considerably improved, and promised to establish herself in a high station as a singer. She sung some of her favourite songs with more feeling and variety of expression than heretofore, and met with merited approbation. She likewise attempted “O come rapida,” in which Pasta shone forth with such splendour. Even at this distance of time the recollections of it caused a total eclipse of Miss Paton’s attempt, which we cannot help saying, was more to be admired for its boldness than for its success.

The Edinburgh Observer (January 11, 1828): 4.

MOSCHELES’ FIRST CONCERT.

——

It is with regret we mention that this distinguished performer made his first appearance in Edinburgh, in a room almost empty. We know not whether this is to be ascribed to the unusual number of musical treats that now distract the attention of the public, or to people of taste being more engaged, at this season of the year, in gastronomic amusements; but we trust, in charity, that there is no want of liberality, or of a proper appreciation of those talents which have gained Mr. Moschelles the reputation of being the first pianist in Europe. Uniting, as a contemporary critic justly remarks, all the delicacy, grateful finish, and purity of Cramer, with the fire and brilliancy of Kalkbrenner—he surpasses both, and afford the highest gratification, not only to the scientific connoisseur, but to the very one in the least alive to the beauties of music. He is not a clap-trap juggler who caters to the bad taste of a genteel mob, but a man of genius, —an intellectual performer—and an enthusiast in that divine art to which he is so great to an ornament. We hope his next concert will evince that the public of Edinburgh know how to appreciate his splendid talents; and we would recommend every young lady who has any devotion or love for the art, to make one of his audience;—an hour in the concert-room will do her more essential service than six months’ ordinary drilling.—She may no, indeed, increase the rapidity of her execution, but what is much better, she may catch some of his fire and enthusiasm, cultivate her taste, and afterwards retain in her mind’s eye, a standard of excellence, which, though she may never attain it, will at least excite her imitation.

Mr. Moschelles’ first performance was his celebrated and well known concerto, in which is introduced his brilliant variations on the common place air of the “Fall of Paris.” The theme was before thread-bare and uninteresting, but he has treated it with the hand of a master, and the performance was splendid. His “Anticipations of Scotland,” which followed, is a composition full of beauties, and must soon be in the hands of every good piano-forte player. It was delightful to see a foreigner enter into the spirit and pathos of the Scotch airs, and treat them with so much taste and fancy. We can never forget “Auld Robin Grey,” which would have melted any one into tears, had it been heard on “hill side or in farmers’ ha,” instead of a Concert Room, where such music cannot be fully felt and appreciated. Mr. Moschelles’ extemporaneous performance, with which he concluded, was also of the highest order. It was rich in beautiful ideas, and variety of expression; and afforded a high intellectual treat to all who heard it.

We have to congratulate Miss E. Paton on her first appearance this winter. During the summer she was wisely been cultivating her talents, and has made very considerable progress since we last heard her. It evinced some boldness to sing Meyerbeer’s difficult air, “Oh come rapida,” so soon after Madame Pasta, but the result more than justified the attempt. She also sung Bishop’s “Echo Song,” and “My Love is far from me,” in a very tasteful style.

A Mr NOAKES, who has a fine voice, and sings with much feeling and judgment, made his debut at his concert, his “Lord Remember David,” was sung with much taste and expression. The band, though small, was ably led Mr Dewar.

The Courier (January 16, 1828): 3.

MOSCHELLES’ FIRST CONCERT.—It is with regret we mention that this distinguished performer made his first appearance in Edinburgh, in a room almost empty. We know not whether this is to be ascribed to the unusual number of musical treats that now distract the attention of the public or to people of taste being more engaged, at this season of the year, in gastronomic amusements; but we trust, in charity, that there is no want of liberality, or of a proper appreciation of those talents which have gained Mr. Moschelles the reputation of being the first pianist in Europe. Uniting, as a contemporary critic justly remarks, all the delicacy, grateful finish, and purity of Cramer, with the fire and brilliancy of Kalkbrenner—he surpasses both, and afford the highest gratification, not only to the scientific connoisseur, but to the very one in the least alive to the beauties of music. He is not a clap-trap juggler who caters to the bad taste of a genteel mob; but a man of genius, an intellectual performer, and an enthusiast in that divine art to which he is so great to an ornament. We hope his next concert will evince that the public of Edinburgh know how to appreciate his splendid talents; and we would recommend every young lady who has any devotion or love for the art, to make one of his audience; —an hour in the concert-room will do her more essential service than six months’ ordinary drilling. She may not, indeed, increase the rapidity of her execution, but what is much better, she may catch some of his fire and enthusiasm, cultivate her taste, and afterwards retain in her mind’s eye, a standard of excellence, which, though she may never attain it, will at least excite her imitation. Mr. Moschelles’ first performance was his celebrated and well known concerto, in which is introduced his brilliant variations on the common place air of the “Fall of Paris.” The theme was before threadbare and uninteresting, but he has treated it with the hand of master, and the performance was splendid. His “Anticipations of Scotland,” which followed, is a composition full of beauties, and must soon be in the hands of every good piano-forte player. It was delightful to see a foreigner enter into the spirit and pathos of the Scotch airs, and treat them with so much taste and fancy. We can never forget “Auld Robin Grey,” which would have melted any one into tears, had it been heard on “hill side or in farmers’ ha,” instead of a Concert Room, where much music cannot be fully felt and appreciated. Mr. Moschelles’ extemporaneous performance, with which he concluded, was also of the highest order. It was rich in beautiful ideas, and variety of expression; and afforded a high intellectual treat to all who heard it.—Edinburgh Observer, of Friday, Jan. 11.

The Standard (January 17, 1828): 1.

The Harmonicon, vol. VI (1828): 35.

8th. Moscheles gave a concert at the Assembly Rooms this evening, but the company scarcely filled one-fourth of the seats. He played many things, and amongst these, “Anticipations of Scotland,” a new composition, in which he, perhaps, introduced the old song, “I dreamt a golden dream.” He will, doubtless, publish this, and most probably write another under the title of Le Retour de l’Ecosse, wherein he may give us the beautiful Scotish [sic] air, “There’s nae luck,” followed by another almost as good, “Todlen hame.” But, seriously, I did expect that an artist of such very rare talents, a man so justly celebrated all over Europe, would have met with a kindlier welcome. The plague of fashion has, I fear, spread even to the intellectual city, the modern Athens.

The Harmonicon, vol. VI (February 1828): 58.

Mr. Moscheles gave three concerts. The first happened on the night of the Italian opera, which deprived him of the aid of many orchestral performers, and produced a very unsatisfactory audience, in relation to profit, but a most satisfactory one so far as the taste and intelligence of the auditors were concerned. The report made by his select company, spread his reputation with great rapidity, and his second concert exhibited the large Assembly Room very nearly filled with an audience of the first rank in Edinburgh. His performance on this occasion excited so much admiration, and became so much the subject of conversation amongst the lovers of music, that his third concert was full to overflowing. This progressive attraction of public attention was certainly in the highest degree complimentary to Moscheles’ talents; and the effect which he subsequently produced on a visit to Sir Walter Scott, when he treated extemporaneously some national music suggested to him on the occasion, so raised him in the estimation of this northern metropolis, that he is now considered as the most eminent pianist who has ever appeared amongst them. Miss Eliza Paton sang with great effect in all the three concerts, and not unfrequently reminded the audience of the Madame Pasta, whose style she makes her model. Mr. Dewar distinguished himself as a leader of much judgment and ability.

Allgemeine musikalische Zeitung (April 30, 1828): 300.

Moscheles und Walter Scott.

Hr. Moscheles halte vor Kurzem eine Kunstreise nach Edinburg unternommen; er gab dort Concert: es war nur wenig besucht. Sein Spiel hatte jedoch den Anwesenden so sehr gefallen, dass der Künstler sich veranlasst sah, ein zweytes zu veranstalten, das schon weit besuchter, als das erste war.

Ignaz Moscheles’ First Concert

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