Ignaz Moscheles’ Morning Concert
London: Concert Room, King’s Theatre—Time: Morning
Tickets: 10s. 6d.; Boxes available
↓Programme
| Free Piano Fantasia | Mr. Moscheles | |
| From Il barbiere di Siviglia: Duet, ‘All’ idea di quel metallo’ | Signors de Begnis, Donzelli | Rossini |
| From Le nozze di Figaro: Duet, ‘Crudel! perchè finora’ | Miss Cramer, Signor Donzelli | Mozart |
| From Tancredi Recit., ‘Tu che accendi questo core’ Aria, ‘Di tanti palpiti’ | Mme Malibran-Garcia | Rossini |
| From Semiramide: Duet, ‘Ebben ate ferisce’ | Mlle Sontag, Mme Malibran-Garcia | Rossini |
| Piano and Violoncello Concertante | Messrs. Moscheles, Lindley | |
| Piano Fantasia, Sir Walter Scott’s favourite strains of the Scottish Bards, with Orchestral Accompaniments (ad lib) | Mr. Moscheles | Moscheles |
| Air, ‘The Last Rose of Summer’ | Miss Cramer | |
| Song, ‘Savoyard’ | Signor de Begnis | |
| Symphony in C major | Moscheles | |
| Swiss Boy with Variations | Mlle Sontag; Piano: Mr. Moscheles; Violoncello; Mr. Lindley |
| Principal Vocalists: Miss Cramer, Mme Malibran-Garcia, Mlle Sontag; Signors de Begnis, Donzelli |
| Principal Instrumentalists: Messrs. Lindley, Moscheles |
| Leader: Mr. Franz Cramer; Conductor: Sir George Smart |
———————————
Encore: Song, ‘Savoyard’— Signor de Begnis
Charlotte: ‘Laporte, who had become in 1828 the lessee of Her Majesty’s Theatre [King’s Theatre], was peremptory in his dealings with concert-givers, his dictum being: “Hire my opera concert-hall, or you must do without my singers”, and the high price he put upon this arrangement made the acceptance a very difficult matter. The pill of course was sugared over with many honeyed French conversational terms and phrases, but Bochsa, the “manager’s manager”, knew how to translate them into good English, while negotiating with Moscheles behind the scenes during the opera performance—the only time one was tolerably sure of meeting with these gentlemen. Moscheles had several novelties ready for his concert, a Symphony, a Fantasia, Strains of the Scotch Bards, which, from being dedicated to Sir Walter Scott, was sure to excite great interest…. Laporte knew his advantages only too well; he was master of the position, virtually monopolising the services of Malibran and Sonntag, the idols of the public. Indeed, the power of the Italian Opera was such that none of the national theatres could compete with it’.
RMM, 152-153.
Moscheles: ‘I was obliged, like the rest of us, to have Italian singers, and to experience all the endless worry of negotiating their costly services; I hired Laporte’s concert-room at great expense—not only this, I had to offer the owner of the Argyll Rooms, which I had already engaged, a forfeit of £10. This he contemptuously refused, and threatened me with a lawsuit: I always had a wholesome dread of lawsuits, and so I consulted a legal friend, who at last persuaded the man to accept the £10’.
RMM, 152-153.
Letter: F. Mendelssohn to his Family, addressed to Abraham Mendelssohn.
London, 8 May 1829
Nach beendigter Operation mußte ich gleich nach Mr. Moscheles’ morning concert; worin seine neue Sinfonie den Anfang machte; da gestern in der Probe einiges in den Bratschen und 2ten Geigen gewackelt hatte, so spielte ich heut mit, und muß mich lächerlich am ersten Pult ausgenommen haben. Der Saal war voll, and fast lauter Damen, die in die Morgenconcerte ohne die Männer gehen dürfen; die bunten Hüte und die farbigen Kleider und die netten Gesichter machten mich poetisch, ich verglich sie mit Tuplenbeeten, oder mit den Kolibris aus unserm Museum, besonders wenn sie sich bei trivialten Stellen freundlich zunickten. Die Sontag sang, die Malibran sang, sie sangen auch zusammen, und Miss Cramer sang auch und Donzelli sang, und Sir George hielt einen speach, der göttlich war, und Moscheles spielte 4 mal Gott!
MSB.1, 282-283.
Account book (1829)
Die Concert Einnahmen vom 8ten May — £93.12.—
H. R.
Advertisements
The Quarterly Musical Magazine and Review, vol. 10 (1828): 300.
On the 8th Mr. Moscheles will give his annual concert.
John Bull (March 29, 1829): 95.
ARGYLL ROOMS
MR. MOSCHELES has the honour to announce to the Nobility, Gentry, and his Friends in general, that his MORNING CONCERT will take place at the above Rooms, on FRIDAY, May the 8th, 1829. Further particulars will be duly announced.
The Atlas (April 5, 1829): 240.
ARGYLL ROOMS.—Mr. MOSCHELES has the honour to announce to the Nobility, Gentry, and his friends in general, that his MORNING CONCERT will take place at the above Rooms, on FRIDAY, May the 8th, 1829. Further particulars will be duly announced.
The Morning Post (April 11, 1829): 1.
ARGYLL ROOMS.—Mr. MOSCHELES has the honour to announce that his MORNING CONCERT will take place at the above Rooms, on FRIDAY, the 8th of May. Further particulars will be duly announced.
The Morning Post (April 25, 1829): 1.
KING’S CONCERT ROOMS, KING’S THEATRE.—Mr. MOSCHELES has the honour to announce that his MORNING CONCERT will take place on FRIDAY, May the 8th, 1829, at the above Rooms, when he will be assisted by Madame Malibran Garcia, Miss M. Cramer, Madame K. Uranizky (First Singer at the Imperial Italian Opera at Vienna and the Court of Austria, her first appearance in this country), Signor Donzelli, Signor De Begnis, and Mr. Braham. Leader, Mr. F. Cramer; Conductor, Sir Geo. Smart.—Further particulars will be duly announced.—Mr. Moscheles solicits an early application for Boxes. Tickets, 10s. 6d. each, to be had of Mr. Moscheles, No. 77, Norton-street, Portland-place, and at the principal Music Warehouses.
John Bull (April 26, 1829): 129.
KING’S CONCERT ROOMS, KING’S THEATRE.
MR. MOSCHELES has the honour to announce that his MORNING CONCERT will take place on FRIDAY, May the 8th, 1829, at the above Rooms; when he will be assisted by Madame Malibran Garcia, Miss M. Cramer, Madame K. Wranizsky (First Singer at the Imperial Italian Opera at Vienna, and the Court of Austria, her first appearance in this country), Signor Donzelli, Signor De Begnis, and Mr. Braham. Leader, Mr. F. Cramer; Conductor, Sir G. Smart. Further particulars will be duly announced. Mr. Moscheles solicits an early application for Boxes.—Tickets, 10s. 6d. each, to be had of Mr. Moscheles, No. 77, Norton-street, Portland-place, and at the principal Music Warehouses.
The Courier (April 27, 1829): 1.
KING’S CONCERT ROOMS, King’s Theatre. Mr. MOSCHELES has the honour to announce that his MORNING CONCERT will take place on Friday, May 8, at the above Rooms, when he will be assisted by Madame Malibran Garcia, Miss M. Cramer, Madame K. Uranizky (first singer at the Imperial Italian Opera at Vienna and the Court of Austria—her first appearance in this country,) Signor Donzelli, Signor De Begnis, and Mr. Braham. Leader, Mr. F. Cramer—Conductor, Sir G. Smart.—Further particulars will be duly announced. Mr. Moscheles solicits an early application for boxes.—Tickets, 10s. 6d. each, to be had of Mr. Moscheles, No. 77, Norton-street, Portland-place, and at the principal music warehouses.
The Morning Post (April 27, 1829): 1.
[Same as issued in The Morning Post on April 25]
The Times (May 28, 1829): 1.
KING’S CONCERT ROOMS, King’s Theatre. Mr. MOSCHELES has the honour to announce that his MORNING CONCERT will take place on Friday, May 8, 1829, at the above Rooms, when he will be assisted by Madame Malibran Garcia, Miss M. Cramer, Madame K. Uranisky, first singer at the imperial Italian Opera at Vienna, and the Court of Austria, her first appearance in this country, Signor Donzelli, Signor De Begnis, and Mr. Braham. Leader, Mr. F. Cramer. Conductor, Sir G. Smart.—Further particulars will be duly announced. Mr. Moscheles solicits an early application for boxes. Tickets, 10s. 6d. each, to be had of Mr. Moscheles, 77, Norton-street, Portland-place; and at the principal music warehouses.
The Morning Post (April 30, 1829): 1.
[Same as issued in The Morning Post on April 25, except K. Uranizky is replaced with K. Wranizky]
The Atlas (May 5, 1829): 240.
ARGYLL ROOMS.—W. MOSCHELES has the honour to announce to the Nobility, Gentry, and his friends in general, that his MORNING CONCERT will take place at the above Rooms, on FRIDAY, May the 8th, 1829. Further particulars will shortly be announced.
The Courier (May 5, 1829): 4.
KING’S CONCERT ROOM, KING’S THEATRE.
MR. MOSCHELES’ MORNING CONCERT,
On FRIDAY NEXT, May 8.
Mr. MOSCHELES has the honour to announce, that he will be assisted at this Concert by Mademoiselle Sontag, Madame Malibran Garcia, Miss M. Cramer, Madame K. Wranizky (first singer at the Court of Austria), Signor Donzelli, Signor De Begnis, and Mr. Braham. Leader, Mr. F. Cramer—Conducctor, Sir G. Smart.—Further Particulars are announced in the Bills.—Mr. Moscheles solicits an early application for boxes.—Tickets, 10s. 6d. each to be had of Mr. Moscheles, No. 77, Norton-street, Portland-place, also at the principal music warehouses, and of Mr. Seguin, at the Box Office, King’s Theatre.
The Morning Post (May 5, 1829): 1.
MR. MOSCHELES’ MORNING CONCERT, on FRIDAY Next, May 8, at the KING’S CONCERT ROOMS, KING’S THEATRE.—Mr. MOSCHELES has the honour to announce that he will be assisted by Mademoiselle Sontag, Madame Malibran Garcia, Miss M. Cramer, Madame K. Wranizky (First Singer at the Court of Austria), Signor Donzelli, Signor De Begnis, and Mr. Braham. Leader, Mr. F. Cramer; Conductor, Sir Geo. Smart.—Further particulars are announced in the Bills. Mr. Moscheles solicits an early application for Boxes. Tickets, 10s. 6d. each, to be had of Mr. Moscheles, No. 77, Norton-street, Portland-place; also at the principal Music Warehouses; and of Mr. Seguin, at the Box Office of the King’s Theatre.
Ibid: 3.
MUSICAL.—The announcement of a new Grand Symphony by MOSCHELES, at his Concert on Friday morning next, has created a deal of sensation among the lovers of classical compositions, particularly as the Author has given so many specimens of his talent as an instrumental composer. SONTAG, MALIBRAN, and Madame WRANIZKY (her first appearance), BRAHAM, DONZELLI, and DE BEGNIS, are the vocalists engaged. MOSCHELES will perform a new Fantasia, also play a Concertante Duet with the inimitable LINDLEY, and give extemporaneous performance on the pianoforte, introducing some popular Thema.
The Harmonicon, vol. VII (May 1829): 116.
….Madame K. Wranizky, first singer at the court of Vienna, who is said to possess very first-rate talent,—which M. Moscheles is to have the honour of introducing at his concert.
Reviews
The Morning Post (May 9, 1829): 3.
MR. MOSCHELES’ CONCERT.
The spacious Concert Room at the King’s Theatre was crowded yesterday morning for the benefit of this fine Performer and eminent Composer. The Concert commenced with a New Grand Symphony, by MOSCHELES, in the key of C, which consists of an introduction. Maestoso, then an allegro, led off by the trumpet sostenuto, with a running accompaniment by the second violins: the character of this movement is military; the motivo is very simple, but elegant, and introduced most scientifically in various keys; this is succeeded by an adagio in F, with one flat, in which the Composer has displayed the most profound knowledge, both of effect and modulation; it is a masterly effort, and the few concluding notes (diminuendo) given to the bass, is a most felicitous thought. A spirited Minuette in A minori follows, the trio in which is exceedingly playful and clever; the wind instruments have petits solos throughout, and continually take up points in imitation. The whole concludes with an allegro in the key of C, full of conversation between the orchestra, and worked up into a most astounding climax. On the whole we consider this Symphony equal to most compositions of the kind in effect, and to any in point of fire, rich scientific modulation. It reflects the highest credit on the Author, and we hope to hear it performed at the Philharmonic Concerts. MOSCHELES executed a new Fantasia, in which he introduced “Kinloch of Kinloch,” and “The Highland Laddie,”’ in the most masterly manner, also concertante duet with LINDLEY, and an extemporaneous performance. Mademoiselle SONTAG sung her beautiful “Swiss Boy,” with variations, exquisitely; she was accompanied by MOSCHELES and LINDLEY in the first style of excellence. Madame MALIBRAN GARCIA sung “Di tanti,” and delighted us although we have heard the same ditty 999 times over. Miss M. CRAMER, a modest unassuming young Lady, sang “Crudel Perchè” with DONZELLI, very sweetly, and gave “The Last Rose of Summer,” with great simplicity and taste. In consequence of BRAHAM’S not being able to attend, a M. LEVASSEUR had promised to sing, but did not appear. Sir G. SMART made an apology, and said the Signor De Begnis would fill up the vacuum with “The Savoyard,” which he gave with an uncommon degree of humour, and was loudly encored; he sang “All’ idea,” with DONZELLI, capitally. Madame WRONISKY was prevented by a severe hoarseness from singing. The whole of the performance went off with the greatest possible eclat. Mr. F. CRAMER led an excellent Band.
The Times (May 9, 1829): 6.
KING’S CONCERT ROOM.
Mr. Moscheles gave, yesterday morning, his annual benefit concert in this room. Mademoiselle Sontag, Madame Malibran, and Miss Cramer, were among the vocalists who lent their attractive aid on the occasion. The first-named lady took a part in a trio with Messrs. Moscheles and Lindley, chiefly composed of variations for the voice, pianoforte, and violoncello, on the well-known air of “The Swiss boy.” This piece was last year brought out as a duet, at the concert given for the benefit of its composer, Pixis, so that it possessed no share of novelty beyond the addition of the violoncello part; but which, falling into such hands as those of Lindley, added no small portion of interest to the performance. Indeed, it seemed to be one in which three of the greatest musical practitioners of the day had view with each other for a superior display of their respective powers. The applause bestowed on their exertion was so equal, that it was impossible to discover any partial feeling on the part of the audience. Madame Malibran sang “Tu che accendi” with an expression and a simplicity which formed a pleasing contrast with the ornamental shape in which the cavatina has, for years, been given by almost every other professional vocalist, for the purpose of imparting variety to its charms. A duet of Semiramide between Madame Malibran and Mademoiselle Sontag, was also listened to with great delight. In the course of the concert, Mr. Moscheles executed three new pieces of his own composition, consisting of a fantasia, a Concertante with Lindley, and an extempore capriccio. It would be almost superfluous to say, that he displayed all that brilliancy and elegance of style which he is so well known to have at command. The staccato neatness of his most rapid passages, and the distinctness with which he dwells on the same note in each of a long succession of bars of double crotchets, are novelties in the style of pianoforte playing which owe their origin and perfection to him. In his compositions, however, Mr. Moscheles is a great deal too apt to call to aid the inspirations of others, and Rossini’s vocal music has much too great a share in the construction of his own. In all the solo pieces he performed on this occasion, a variety of that composer’s melodies, as well as some Scotch airs, were introduced. Rossini is unquestionably the first opera composer of the day, but he never meant that what he has assigned to the voice should be equally applicable to instruments. There is a kind of rage prevalent among the instrumental composers and adapters of the day for every thing that bears the name of Rossini, which is easily accounted for; but, unluckily, this mania is kept up and encouraged by the public taste; of such men, therefore, as Mr. Moscheles, who have the power of exercising a great ascendancy over the musical world, it is expected that they should lead that taste into its legitimate channel, instead of vitiating it and consolidating its errors by a servile compliance with its frivolities and caprices. It is quite sufficiently notorious that Mr. Moscheles—than whom no one understands better the resources of the instrumental which he professes—is in no want of the assistance either of Rossini’s songs, or of those semi-barbarous oddities which the bagpipe-blowers of the wild Highlands of Scotland miscall melodies, in order to enhance the popularity of his compositions. If musical genius has reason to complain of want of encouragement in this country, it is precisely because little is done towards purifying the public taste, and every thing that tends to perpetuate its frivolous and wrongful tendency is resorted to by the very persona who have most reason to deplore its perversion. But the audiences who attend Mr. Moscheles’s concerts are chiefly composed of persons to a more or less extent skilled in the science and practice of music. To them Rossini’s melodies, arranged for the pianoforte, bear the appearance of trifles, and the Scotch airs are insufferable. Their ears have, besides, been sufficiently put under the test of endurance by repetitions without end of the same things at the Opera, at all the other theatres, at concerts, at balls, at private parties, and in the very streets. Those persons therefore expect such novelty as is properly suited to instrumental execution, and not vocal imitations. Mr. Moscheles, however, received abundance of those complimentary testimonies on the part of his brilliant audience to which his eminent station in the musical world entitles him.
The Courier (May 11, 1829): 3.
Moscheles’ Concert, at the King’s Concert Rooms, at the end of the last week, afforded a very interesting display of vocal and instrumental excellence. Besides several brilliant improvisations by the grand master himself, a duet out of Rossini’s Semiramide, by Madame Malibran Garcia, and Maddle. Sontag, in the beautiful execution of which emulation had no little share, obtained universal admiration. An apology having been made for Braham’s absence, it was announced that De Begnis would give a song in his stead; and the appearance of this most favourite singer within the walls of the King’s Theatre, from which he has been so long and so unaccountably banished, produced the loudest greetings of applause. He gave his Savoyard, which was rapturously encored, and was the only piece in the whole Concert honoured with an encore, though his duet with Donzelli, All’idea di qual metallo, was so effective as to occasion also a loud call for repetition.
The Globe and Traveller (May 11, 1829): 2.
KING’S THEATRE.—Laporte’s splendid new Concert-room has commenced under the happiest auspices: it was twice filled on Friday to overflowing—in the morning at Moschelles’ benefit, and in the evening at that of Mr. Vaughan. Malibran, Sontag, Donzelli, Zuchelli, &c. lent their aid; and as by the terms of their engagement most of these singers are prevented from exercising their talents out of the theatre, except by M. Laporte’s special permission, this elegant room will in all probability run the rival establishments hard during the season. We would call the attention of the manager, however, to some better mode of ventilation; the throwing up the sashes but a few feet above the heads of a part, and on a level with those of some of the company, is not only disagreeable, but dangerous, from the draught it occasions; the very obvious mode of pulling down the upper sash rather than raising the lower one would be a great improvement till some more effectual means can be adopted.
Allgemeine Theaterzeitung und Unterhaltungsblatt für Freunde der Kunst, Literatur und des geselligen Lebens (May 25, 1829): 254.
Am 6. gab Hr. Moscheles im King’s-Theatre ein Concert, in welchem sich die Damen Sontag, Malibran, Kraus Wranitzky hören ließen.
The Harmonicon, vol. VII (June 1829): 140.
9th [May]. But the same Journal tells us to-day, that at the concert of Moscheles, “Madame Malibran sang “Tu ch’ accendi’ with an expression and a simplicity which formed a pleasing contrast with the ornamental shape in which the cavatina [cavatina!][1]has for some years been given.” The writer absolutely never could have heard this scena before; or else, which is more likely, he knows nothing about what he writes. I have often heard it sung, but certainly never yet heard the last, the movement, so embroidered.
[1] The square brackets are not editorial.
Ibid: 146-147.
MR. MOSCHELES’,
Concert Room, King’s Theatre, Friday Morning, May 8th.
On this occasion Mr. Moscheles produced a new grand symphony, being the first time of its performance, a very clever work, but one that requires to be heard a second time in order to enter critically into its merits. He performed his fantasia, Sir Walter Scott’s favourite Strains of the Scottish Bards*, with immense applause; a concertante-duet with Mr. Lindley, in which are introduced some popular airs; and an extempore piece. The latter afforded an opportunity of witnessing, not only his remarkable talent for musical improvisation, but his great knowledge of harmony and wonderful execution. Miss M. Cramer sang with Signor Donzelli, Mozart’s “Crudel, perche finora?” very sweetly, and likewise the Irish melody, “Tis the last rose of summer,” in a most interesting manner. Madame Malibran gave—not “Di tanti palpiti,” properly so called, but what can only be considered as variations on it; and thus substituted her own tinsel for the sterling air, with a self-complacency that we never before saw equalled: she, however, sang Rossini’s duet, “Ebben, a te ferisci,” with Madlle. Sontag, with charming effect; though the last part of this was so altered by concetti, that it was difficult to trace the author’s notes. The room was crowded in all parts. Mr. F. Cramer led a very good full band (not the Opera baud), and Sir G. Smart conducted.
Münchener politische Zeitung (July 31, 1829): 1032.
London…Hr. Moscheles spielte in 13 derselben [Concerten]. Das erste Conzert des Hrn. Moscheles war das vollste; er nahm 900 Pfd. Sterl. cin.
Ignaz Moscheles' Concert Life 