8 May 1834

Ignaz Moscheles’ Morning Concert

London: Hanover Square Rooms—Time: Evening, Two o’Clock

Tickets: 10s. 6d.

✗Programme

From Jessonda*, Duet, ‘Schönes Mädchen’ (in Italian)	Miss Masson, Monsieur de Vrugt	Spohr
Part I
Overture, Die schöne Melusine		Mendelssohn
From Judas Maccabæus: Air, ‘From mighty Kings’	Mrs. Knyvett	Handel
Piano Concerto No.6 in B flat major, Fantastique(second time of performance)	Mr. Moscheles	Moscheles
From Anna Bolena: Cavatina, ‘Non v’e sguardo’	Mme Caradori-Allan	Donizetti
From Le cantatrici villane: Terzetto, ‘Io vi dico’	Miss Masson, Miss Novello, Signor de Begnis	Fioravanti
Rondo Brilliant in E flat major with Orchestral Accompaniments (MS)	Mr. Moscheles (expressly composed for the occasion)	Mendelssohn
Dutch Ballad, ‘Maria’	Monsieur de Vrugt (first appearance in the country)	Van Bree
Dutch National Hymn, ‘Wien Neêrlands Bloed’	Monsieur de Vrugt	Wilms
Les adieux des troubadours, Concertante Variations for Voice, Piano, Violin and Guitar	Mme Stockhausen, Mr. Moscheles, Monsieur, Ghys, Mr. L. Schulz	Moscheles, Mayseder and Giuliani
Part II
Piano Duet Concertante on a favourite Theme from Guillaume Tell	Messrs. Herz, Moscheles	Herz
Tyrolienne, ‘Tyrol qui m’a vu naître’ (new)	Miss Novello; Clarinet Obbligato: Mr. Willman	Panseron
Song, ‘Our own British oak’ (first time of performance)	Mr. Machin	Neukomm
Violin Fantasia, Original Theme and Variations preceded by an Adagio	Monsieur Ghys	Ghys
Swiss Airs (new)	Mme Stockhausen
Free Piano Fantasia	Mr. Moscheles

Principal Vocalists: Miss Masson, Miss Novello, Mme Stockhausen; Monsieur de Vrugt, Mr. Machin, Signor de Begnis
Principal Instrumentalists: Messrs. Herz, Moscheles, L. Schulz, Willman, Monsieur Ghys
Leader: Mr. Franz Cramer; Conductor: Sir George Smart

———————————

Charlotte: ‘Moscheles: ‚Ich will doch sehen, ob ich nicht im Stande bin, ohne die Hülfe der italienischen Sänger und der Prellerei eines Impresario meinen Saal zu füllen. Gelänge das nicht, es wäre eine Schande für mich, und ich müsste mein Clavierspiel sammt meinen Compositionen an den Nagel hängen‘.
AML I, 279.

Charlotte: ‘We find Moscheles less inclined than ever to come to terms with the Manager of the Italian Opera…He did succeed, however, some artists supported him, among them a new tenor just arrived from Holland, De Vrugt, who soon made himself a name; he engaged Madame Stockhausen—the room was full, and the audience enthusiastic’.

RMM, 202.

Playbill

King’s Concert Rooms, Hanover Square.

MR.

MOSCHELES

Has the honor to announce to the Nobility, Gentry, and his Friends, in general, that his

MORNING CONCERT

WILL TAKE PLACE AT THE ABOVE ROOMS

ON THURSDAY, MAY 8, 1834,

TO BEGIN AT TWO O’CLOCK PRECISELY.

The following eminent Performers, both Vocal and Instrumental, have kindly promised their assistance:

Madame CARADORI ALLAN and Mrs. W. KNYVETT,

Miss MASSON, Miss CLARA NOVELLO,

AND

Madame STOCKHAUSEN

(Who will sing several new Swiss Airs).

Signor BEGREZ, Mr. MACHIN

(Who will sing the Chevalier Neukomm’s new Song, “Our own British Oak”)

Mons. DE VRUGT,

First Tenor Singer to His Majesty the King of Holland (his first appearance in this country), who will sing the celebrated Dutch Ballad “Maria,” with the original words, and the National Hymn,

AND

Signor DE BEGNIS.

THE CONCERT TO BEGIN WITH

F. MENDELSSOHN’S NEW MS. OVERTURE

Melusine, or the Knight and the Mermaid,

AS PERFORMED AT THE PHILHARMONIC.

Mons. GHYS

Will play a Fantasia on the Violin.

Mr. MOSCHELES

WILL PLAY HIS

New MS. Concerto Fantastique,

AS PERFORMED AT THE THIRD PHILHARMONIC CONCERT,

A NEW MS. RONDO BRILLANT,

WITH ORCHESTRAL ACCOMPANIMENTS, WRITTEN EXPRESSLY FOR THE OCCASION BY

F. MENDELSSOHN,

A CONCERTANTE DUET WITH MR. H. HERZ,

An Extemporaneous Performance,

And the favorite Concertante, “Les Adieux des Troubadours,” for Voice, Violin, Guitar, and Pianoforte, with

Mad. STOCKHAUSEN, Mons. GHYS, and Mr. L. SCHULZ

The Band will be numerous and composed of the first-rate Performers.

Principal Violoncello, Mr. LINDLEY,

Leader, Mr. F. CRAMER.

Conductor, Sir GEORGE SMART.

Tickets, 10s. 6d. each, to be had of Mr. MOSCHELES, No. 3, Chester Place, Regent’s Park; at the

principal Music-shops; and at the Rooms.

[For [sic] the Scheme of the Concert, see the other Side.

[GB-Lbl Playbills 320 v.]

King’s Concert Rooms, Hanover Square.

[line]

SCHEME

MR. MOSCHELES’

Morning Concert,

THURSDAY NEXT, MAY the 8th, 1834.

[line]

PART I.

New MS. Overture to Melusine, or the Knight and the Mermaid,

(as performed at the Philharmonic)……………………………………F. Mendelssohn Bartholdy.

Recitative and Song, Mrs. W. KNYVETT, “From Mighty kings.” . . (Judas Maccabeus.)…Handel.

New MS. Concerto Fantastique, Mr. MOSCHELES,

(as performed at the Philharmonic)……………………………………………………..Moscheles.

Cavatina, Madame CARADORI ALLAN, “Non v’e sguardo.” . . . . (Anna Bolena.) . . . . Donizetti.

Terzetto, Miss CLARA NOVELLO, Miss MASSON, and Signor DE BEGNIS,

“Io vi dico.”………………………………(La Cantatrice villane.)………………………………..

New MS. RONDO brilliant, with Orchestral Accompaniments (written expressly

for the Occasion), Pianoforte, Mr. MOSCHELES………………… ..F. Mendelssohn Bartholdy.

Dutch Ballad, “Maria,” Mons. DE VRUGT, First Tenor Singer to His Majesty the King of

Holland (his first appearance in this country)…………………………………………..Van Bree.

Followed by the Dutch National Hymn. (Both with the original Dutch words.)…………..Wilms.

“Les Adieux des Troubadours,” Concertante Fantasia, for Voice, Pianoforte,

Violin, and Guitar, on a Romance by Blangini, Madame STOCKHAUSEN,

Mr. MOSCHELES, Mons. GHYS, and Mr. L. SCHULZ. . . Moscheles, Mayseder, and Giuliani.

PART II.

Grand Concertante Duet, Pianoforte, Messrs. HERZ and MOSCHELES,

on a favorite Theme in Guillaume Tell………………………………………………………….H. Herz.

New French Romance, Miss CLARA NOVELLO, “Tyrol m’a vue naître.”

Clarinet Obligato, Mr. WILLMAN………………………………………………………Panseron.

New Song, Mr. MACHIN, “Our own British oak,” (first time of performance)..Chevalier Neukomm.

Fantasia, Adagio, and original Theme with Variations, Violin, Mr. GHYS…………………….Ghys.

New Swiss Airs, Madame STOCKHAUSEN.

Extemporaneous Performance on the Pianoforte, Mr. MOSCHELES.

The Concert will begin at Two o’Clock precisely.

[GB-Lbl Playbills 320 r.]

John Bull (April 13, 1834): 113.

KING’S CONCERT-ROOM, HANOVER-SQUARE.—Mr. MOSCHELES has the honour to announce, that his MORNING CONCERT will take place at the above Rooms, on THURSDAY, May 8th, when he will perform several MS. Compositions, and will be assisted by the most eminent performers, both Vocal and Instrumental. Full particulars will be duly announced.—Tickets, Half-a-guinea each, to be had of Mr. Moscheles, 3, Chester-place, Regent’s-park, and at all the principal Music-shops.

The Atlas (April 13, 1834): 240.

KING’S CONCERT-ROOM, HANOVER SQUARE.

MR. MOSCHELES has the honour to announce, that his Morning Concert will take place at the above rooms, on Thursday, May, 8th, when he will perform several M.S. Compositions, and will be assisted by the most eminent performers, both vocal and instrumental. Full particulars will be duly announced.

Tickets, half a guinea each, to be had of Mr. Moscheles, 3, Chester-place, Regent’s-park, and at all the principal music shops.

The Morning Post (April 26, 1834): 1.

KING’S CONCERT-ROOM, Hanover-square.—Mr. MOSCHELES has the honour to announce, that his MORNING CONCERT will take place on THURSDAY, May 8, 1834, when he will be assisted by Madame Caradori Allan, Madame Stockhausen, Miss Masson, Miss C. Novello, Signor Begrez, Mr. Machin, Mons, Ghys, and Mr. E. Schulz. Mr. Moscheles will perform his new MS. Concerto Fantastique; a MS. Rondo Brillante, by Mendelssohn, written for the occasion; and an extempore Fantasia. Leader, Mr. F. Cramer; Conductor, Sir G. Smart. Full particulars are announced in the bills. Tickets, 10s. 6d. each, to be had of Mr. Moscheles, 3, Chester-place, Regent’s Park; and at all the principal Music Shops.

John Bull (April 27, 1834): 129.

KING’S CONCERT-ROOM, HANOVER-SQUARE.—Mr. MOSCHELES has the honour to announce, that his MORNING CONCERT will take place at the above Rooms, on THURSDAY, May 8th, when he will be assisted by Madame Caradori Allan, Madame Stockhausen, Mrs. Wm. Knyvett, Miss Masson, Miss C. Novello; Signor Begrez, Mr. Machin, Mons, Ghys, and Mr. L. Schulz. Mr. Moscheles will perform his new MS. CONCERTO FANTASTIQUE; a MS. Rondo Brillant, by Mendelssohn, written for the occasion; and an Extempore Fantasia. Leader, Mr. F. Cramer; Conductor, Sir George Smart. Full particulars are announced in the Bills.—Tickets, 10s. 6d. each, to be had of Mr. Moscheles, 3, Chester-place, Regent’s-park; and at all the principal Music-shops.

The Atlas (April 27, 1834): 272.

KING’S CONCERT-ROOM, HANOVER SQUARE.

MR. MOSCHELES has the honour to announce, that his MORNING CONCERT will take place on Thursday, May 8th, 1834, when he will be assisted by Madame Caradori Allan, Madame Stockhausen, Miss Masson, Miss C. Novello, Mr. Begrez, Mr. Machin, Monsieur Ghys, and Mr. L. Schulz. Mr. Moscheles will perform his new M.S. “Concerto Fantastique;” a new M.S. Rondo Brillant,” by Mendelssohn, written for the occasion; and an “Extempore Fantasia.” Leader, Mr. F. Cramer. Conductor, Sir G. Smart. Full particulars are announced in the bills.

Tickets, 10s. 6d. each, to be had of Mr. Moscheles, 3, Chester-place, Regent’s Park; and at all the principal music shops.

The Court Journal: Gazette of the Fashionable World, vol. 6, (May 3, 1834): 310.

KING’S CONCERT-ROOMS,

HANOVER-SQUARE.

MR MOSCHELES has the honour to announce that his MORNING CONCERT will take place on THURSDAY NEXT, May 8th, 1834, at Two o’clock precisely.—The following eminent Performers, both Vocal and Instrumental, have kindly promised their assistance:—Madame Caradori Allan and Mrs W. Knyvett, Miss Masson, Miss Clara Novello, and Madame Stockhausen (who will sing several New Swiss airs). Signor Begrez, Mr Machin, (who will sing the Chevalier Neukomm’s new song, ‘Our own British Oak’) Mons. De Vrugt, first tenor singer to his Majesty the King of Holland (his first appearance in this country), and Signor De Begnis.

The Concert to begin with F. Mendelssohn’s new MS. Overture, Melusine; or the Knight and the Mermaid, as performed at the Philharmonic. Mons. Ghys will play a fantasia on the Violin. Mr. Moscheles will play his new MS. Concerto Fantastique, as performed at the third Philharmonic Concert, a new MS. Rondo brillant, with orchestral accompaniments, written expressly for the occasion by T. [sic] Mendelssohn, a Concertante Duet with Mr. H. Herz, and an extemporaneous performance.—Leader, Mr. F. Cramer; Conductor, Sir George Smart. Tickets, 10s. 6d. each, to be had of Mr. Moscheles, No 3, Chester place, Regent’s park; at the principal Music-shops; and at the Rooms.

The Atlas (May 4, 1834): 288.

KING’S CONCERT-ROOM, HANOVER-SQUARE.

MR. MOSCHELES has the honour to announce, that his MORNING CONCERT will take place on Thursday next, May 8th, 1834, at 2 o’Clock precisely. The following eminent performers, both vocal and instrumental, have kindly promised their assistance:—Mad. Caradori Allan and Mrs. W. Knyvett, Miss Masson, Miss Clara Novello, and Madame Stockhausen (who will sing several new Swiss Airs) Signor Begrez, Mr. Machin, (who will sing the Chevalier Neukomm’s new song, “Our own British Oak,” M. De Vrugt, first tenor singer to H. M. the King of Holland (his first appearance in this country); and Signor De Begnis. The Concert to begin with F. Mendelssohn’s new MS. Overture, “Melusine, or the Knight and the Mermaid,” as performed at the Philharmonic. M. Ghys will play a Fantasia on the Violin. Mr. Moscheles will play his new MS. “Concerto Fantastique”, as performed at the third Philharmonic Concert; a new M.S. “Rondo Brillant,” with orchestral accompaniments, written expressly for the occasion by F. Mendelssohn, a Concertante Duett with Mr. H. Herz, and an extemporaneous performance. Leader, Mr. F. Cramer. Conductor, Sir George Smart.

Tickets, 10s. 6d. each, to be had of Mr. Moscheles, 3, Chester-place, Regent’s-Park; at the principal music shops; and at the rooms.

John Bull (May 4, 1834): 137.

KING’S CONCERT-ROOM, HANOVER-SQUARE.—Mr. MOSCHELES has the honour to announce, that his MORNING CONCERT will take place on THURSDAY NEXT, May 8th, at 2 o’clock precisely. The following eminent performers, both Vocal and Instrumental, have kindly promised their assistance:—Madame Caradori Allan and Mrs. W. Knyvett, Miss Masson, Miss Clara Novello, and Madame Stockhausen (who will sing several New Swiss Airs); Sig. Begrez, Mr. Machin, (who will sing the Chev. Neukomm’s new Song, “Our own British Oak”); Mons. De Vrugt, first Tenor Singer to H. M. the King of Holland (his first appearance in this country); and Signor De Begnis. The Concert to begin with F. Mendelssohn’s new MS. Overture, “Melusine, or the Knight and the Mermaid,” as performed at the Philharmonic. Mons. Ghys will play a Fantasia on the Violin. Mr. Moscheles will play his new MS. CONCERTO FANTASTIQUE, as performed at the third Philharmonic Concert; a new MS. Rondo Brillant, with Orchestral Accompaniments, written expressly for the occasion by F. MenJelssohn [sic]: a Concertante Duet, with Mr. H. Herz; and an Extemporaneous Performance. Leader, Mr. F. Cramer; Conductor, Sir G. Smart.—Tickets, 10s. 6d. each, to be had of Mr. Moscheles, 3, Chester-place, Regent’s-park; at the principal Music-shops; and at the Rooms.

The Morning Post (May 5, 1834): 1.

KING’S CONCERT-ROOM, Hanover-square.—Mr. MOSCHELES has the honour to announce, that his MORNING CONCERT will take place on THURSDAY next, the 8th of May, at Two o’Clock precisely. The following eminent Performers, both vocal and instrumental, have kindly promised their assistance:—Madame Caradori Allen and Mrs. W. Knyvett, Miss Masson, Miss Clara Novello, and Madame Stockhausen (who will sing several new Swiss airs)m Signor Begrez, Mr. Machin (who will sing the Chevalier Neukomm’s new song, “Our own British Oak”), Monsieur de Vrugt, first singer to his Majesty the King of Holland (his first appearance in this country), and Signor de Begnis. The Concert to begin with F. Mendelssohn’s new MS. Overture “Melusinæ, or the Knight and the Mermaid,” as performed at the Philharmonic. Monsieur Ghys will play a Fantasia on the Violin. Mr. Moscheles will play his new MS. Concerto Fantastique, as performed at the third Philharmonic Concert; a new MS. Rondo Brillante, with orchestral accompaniments, written expressly for the occasion by F. Mendelssohn; a Concertante Duet with Mr. H. Herz; and an extemporaneous Performance. Leader, Mr. F. Cramer. Conductor, Sir George Smart.—Tickets, 10s. 6d. each, to be had at Mr. Moscheles’, No. 3, Chester-place, Regent’s Park; at the principal Music shops; and at the Rooms.

Ibid.: 5.

FASHIONABLE ARRANGEMENTS for the WEEK

…..

THURSDAY.

…..

Mr. MOSCHELES’ Morning Concert at the Hanover-square Rooms, commencing at two o’clock.

The Globe and Traveller (May 7, 1834): 1.

PROGRAMME of Mr. MOSCHELES’ Morning Concert at the Hanover-square Rooms, TO-MORROW, Thursday 8th, at Two o’Clock.

PART I.

Mendelssohn’s new MS. Overture to “Melusine,” or “the Knight and the Mermaid,” as performed at the Philharmonic. Handel’s “From mighty Kings,” sung by Mrs. W. Knyvett. New MS. Concerto fantastique, as performed at the Philharmonic, P. F., Mr. Moscheles. Cavatina, Mme. Caradori Allan, Anna Bolena, Donizetti. Terzetto, Miss C. Novello, Miss Masson, and Signor de Begnis, Fioravanti. A new MS. Rondo by Mendelssohn, written expressly for the occasion, P. F., Mr. Moscheles. Mons. de Vrugt, First Tenor Singer to H. M. the King of Holland (his first appearance in this country), will sing the celebrated Dutch ballad “Maria,” and the Dutch National Hymn, both with the original words. “Les adieux des troubadours,” a Concertante for Voice, P. F., Violin, and Guitar, Madame Stockhausen, Mr. Moscheles, M. Ghys, and Mr. L. Schulz—Moscheles, Mayseder, and Giuliani.

PART II.

Grand Concertante Duet, P. F. Messrs. Herz and Moscheles. New French Romance, Miss C. Novello. Clarinet Obligato, Mr. Wilman. The Chev. Neukomm’s new Song, “Our own British Oak,” sung by Mr. Machin. Fantasia, Violin, M. Ghys. New Swiss Airs, Mme. Stockhausen. Extemporaneous performance on the P. F., Mr. Moscheles.

Tickets, 10s. 6d. each, to be had of Mr. Moscheles, 3, Chester-place, Regent’s Park; at all the principal Music Shops; and at the Rooms.

The Morning Post (May 7, 1834): 2.

PROGRAMME of Mr. MOSCHELES’ MORNING CONCERT at the Hanover-square Rooms, TO-MORROW (Thursday), May 8, at Two o’Clock.

Part I.—Mendelssohn’s new MS. Overture to “Melusine, or the Knight and the Mermaid,” as performed at the Philharmonic. Handel’s “From mighty Kings,” sung by Mrs. W. Knyvett; New MS. Concerto Fantastique, as performed at the Philharmonic, pianoforte, Mr. Moscheles; Cavatina, Madame. Caradori Allan (Anna Bolena), Donizetti; Terzetto, Miss C. Novello, Miss Masson, and Signor de Begnis (Fioravanti); a New MS. Rondo Brillante by Mendelssohn, written expressly for the occasion, pianoforte, Mr. Moscheles; Mons. de Vrugt, first tenor singer to his Majesty the King of Holland, his first appearance in this country, will sing the celebrated Dutch Ballad “Maria,” and the Dutch National Hymn, both with the original words; “Les adieux des troubadours,” a Concertante for voice, pianoforte, violin, and guitar, Madame Stockhausen, Mr. Moscheles, Mons. Ghys, and Mr. L. Schulz (Moscheles, Mayseder, and Giuliani).

PART II.—Grand Concertante Duet, pianoforte, Messrs. Herz and Moscheles; New French Romance, Miss C. Novello; Clarinet Obligato, Mr. Willman; the Chevalier Neukomm’s new Song, “Our own British oak,” sung by Mr. Machin; Fantasia, violin, Mr. Ghys; New Swiss Airs, Madame Stockhausen; Extemporaneous Performance on the Pianoforte, Mr. Moscheles.

Tickets, 10s. 6d. each, to be had of Mr. Moscheles, No. 3, Chester-place, Regent’s Park; at all the principal Music Shops; and at the Rooms.

The Standard (May 7, 1834): 1.

PROGRAMME OF MR. MOSCHELES’ MORNING CONCERT at the HANOVER-SQUARE ROOMS, To-morrow, THURSDAY, May 8, at Two o’Clock:—

PART I.

Mendelssohn’s new MS. Overture to “Melusine; or the Knight and the Mermaid,” as performed at the Philharmonic. Handel’s “From mighty Kings,” sung by Mrs. W. Knyvett. New MS. Concerto fantastique, as performed at the Philharmonic—Pianoforte, Mr. Moscheles. Cavatina, Madame Caradori Allan, Anna Bolena, Donizetti. Terzetto, Miss C. Novello, Miss Masoni, and Signor de Begnis, Fioravanti. A new MS. Rondo by Mendelssohn, written expressly for the occasion—Pianoforte, Mr. Moscheles. Mons. de Vrugt, first tenor singer to H. M. the King of Holland (his first appearance in this country), will sing the celebrated Dutch ballad “Maria,” and the Dutch National Hymn, both with the original words. “Les adieux des troubadours,” a concertante for Voice, Pianoforte, Violin, and Guitar, Madame Stockhausen, Mr. Moscheles, M. Ghys, and Mr. L. Schulz—Moscheles, Mayseder, and Giuliani.

PART II.

Grand Concertante Duet—Pianoforte, Messrs. Herz and Moscheles. New French romance, Miss C. Novello—clarinet-obligato, Mr. Wilman. The Chevalier Neukomm’s new song “Our own British Oak,” sung by Mr. Machin. Fantasia, Violin, M. Ghys. New Swiss airs, Madame Stockhausen. Extemporaneous performance on the Pianoforte, Mr. Moscheles.

Tickets 10s. 6d. each, to be had of Mr. Moscheles, 3, Chester-place, Regent’s Park; at all the principal music shops; and at the rooms.

Reviews

The Standard (May 9, 1834): 3.

M. MOSCHELES’S CONCERT.

The concert of this eminent professor at the Hanover-square Rooms yesterday morning was, as usual, very fully and elegantly attended. His solo performances were a new MS. concerto fantastique of his own composition, as performed at the Philharmonic; a new MS. rondo, written by Mendelssohn expressly for this occasion; and an extemporaneous piece. We need scarcely say that both were executed in a style of the highest excellence; but the greatest attraction of the morning was a Concertante duet by Herz and Moscheles, composed by the former on a thema in Guillaume Tell, which was performed with brilliancy that we can scarcely expect ever to hear rivalled. Mons. Ghys displayed considerable power of execution in a fantasia on the violin. Mons. de Vrugt (first tenor singer to the King of Holland) made his first appearance in this country; he possesses a voice at once and flexible, and sings with extreme taste and feeling. A new song of Chevalier Neukomm’s, called “Our own British Oak,” was well sung by Mr. Machin, and is a very spirited and clever composition. The concert concluded with an extemporaneous performance by Moscheles.

The Morning Post (May 9, 1834): 3.

M. MOSCHELES’S CONCERT.

The Concert of this eminent Professor at the Hanover-square Rooms yesterday morning was, as usual, very fully and elegantly attended. His solo performances were a new MS. concerto fantastique of his own composition, as performed at the Philharmonic; a new MS. rondo, written by MENDELSSOHN expressly for this occasion; and an extemporaneous piece. We need scarcely say that both were executed in a style of the highest excellence; but the greatest attraction of the morning was a Concertante duet by HERZ and MOSCHELES, composed by the former on a thema in Guillaume Tell, which was performed with brilliancy that we can scarcely expect ever to hear rivalled. Mons. GHYS displayed considerable power of execution in a fantasia on the violin. Mons. de VRUGT (first tenor singer to the King of HOLLAND) made his first appearance in this country; he possesses a voice at once and flexible, and sings with extreme taste and feeling. A new song of Chevalier NEUKOMM’S, called Our own British Oak, was well sung by Mr. MACHIN, and is a very spirited and clever composition. The Concert concluded with an extemporaneous performance by MOSCHELES.

The Times (May 9, 1834): 3.

MORNING CONCERT.

Mr. Moscheles’ annual concert, which took place yesterday morning at the Hanover-square Rooms, afforded a delightful treat to the lovers of pianoforte playing. Mr. Moscheles himself performed several solos, among which were his own Concerto Fantastique (recently so much admired at the Philharmonic concerts), and a Rondo Brillante, written for the occasion by Mendelssohn Bartholds. The latter is a splendid composition, containing many passages of extreme difficulty, and it was performed by Moscheles with all that fire and energy which impart so much effect to everything he touches. A Concertante duet was performed by Herz and Moscheles. It was the composition of Herz; and the upper part, which was played by the composer, was full of those brilliant difficulties, in the execution of which he is unrivalled, such as rapid passages on one note played by several fingers in succession. M. Ghys, a violin player from Paris, made his début in London on this occasion. He performed a theme with variations of his own composition. In two of the variations, which contained passages of double notes, and arpeggio, M. Ghys proved himself to be a perfect master of his instrument. In the vocal portion of the concert, the chief novelty was the first appearance in this country of M. Van Vrught, principal tenor singer to the King of Holland. He possesses a voice of considerable power and compass, though rather deficient in mellowness of tone. He sang the Dutch national hymn, “Vorst en Vaderland,” with great spirit and effect, and was loudly applauded; but his merits as a stager were more manifest in Spohr’s exquisite duet “Schönes Mädchen,” which was adapted to Italian words. It was sung by Miss Masson and M. Vrught, with a correctness of expression and purity of taste which reflected great credit on both. The concert commenced with the overture to the “Knight and the Mermaid,” an exquisite production, which would in itself suffice to place Mendelssohn in the very first rank of instrumental composers. Mr. Moscheles closed the performances by sitting down to improvise on the pianoforte; and the extempore fantasia which he played might well have claimed admiration, even had it been the result of laboured study. He took for his theme the beautiful opening movement in Beethoven’s Pastoral Symphony, which he worked about in a variety of fanciful changes, here and there introducing snatches from other parts of the symphony, making a sort of fantasia travestie of the whole. Towards the close he introduced, as if by sudden recollection, a very clever imitation of that passage in the andante movement, in which Beethoven himself has imitated the singing of the nightingale and cuckoo. The effect was highly original, and this performance, which was perhaps the most interesting part of the concert, excited rapturous marks of approbation from those who stayed to hear it; but, unfortunately, the lateness of the hour caused a considerable portion of the company to leave the room before it was concluded, and we are sorry to add, even during its progress.

The Athenæum (May 10, 1834): 356.

MR. MOSCHELES’ CONCERT.—This took place on Thursday morning; and the promises of an excellent scheme, comprising much variety and novelty, were (with one exception) well performed. The overture was Mendelsohn’s ‘Melusine,’ which improves upon acquaintance. A brilliant rondo, composed by him, was admirably performed by Mr. Moscheles; the spirit and finish of his passages, (and they were most rapid and difficult,) and the sound, unaffected expression of his cantabile playing, cannot be too much commended; the last in particular, as the taste of the time is more for the surprising and piquant, than the substantial and touching in music. He repeated also his ‘Concerto Fantastique,’ with increased effect, and performed a duet with Herz; concluding his concert with an improvisation, principally on the theme of Beethoven’s ‘Pastoral Symphony,’ which he treated in a manner original and masterly. Mons. Ghys performed one of his own fantasias on the violin; his playing is beautiful, but his music has too much of caricature and forced effect, and the continued performance of it will prevent his acquiring the reputation he deserves. A concertante quartette, between himself on the violin, Moscheles, L. Schulz on the guitar, and Madame Stockhausen, was very beautiful; the theme, a favourite romance by Blangini. Mons. de Vrugt, (principal tenor singer to the King of Holland,) made his début in England on this occasion; we must hear him again, (and, we fancy, on the stage,) before we can pronounce fairly upon his merits. His voice is of extensive compass, and very rich towards the middle of the scale: it has no need of the addition of a falsetto, (always an impertinence, if it can be avoided.—but of this we shall take another occasion to speak more fully). He seems to have abundance of energy, but, at present, we think the stage is his proper place. It was unwise in Miss Clara Novello to sing her new ‘Tyrolien’ so near Madame Stockhausen’s Swiss airs, which are perfect in their sweetness, ease, and finish.

The Court Journal: Gazette of the Fashionable World, vol. 6, (May 10, 1834): 318.

Mr Moschelles’.

THIS concert attracted, as it could not fail to do, a numerous and highly fashionable audience to the Hanover square Rooms, on Thursday morning. Mr Moscheles himself took his seat at the pianoforte no less than five times. His own Concerto Fantastique, and Mendelssohn Bartholdy’s Rondo Brillant, were performed in his most spirited style, and excited general admiration. But the most exquisite morceau of the whole concert was a duet performed by Herz and Moscheles on one pianoforte. It was a Concertante composed by Herz, on a theme in Guillaume Tell, the parts being ingeniously arranged to shew off the peculiar powers of each performer. Herz took the upper part, in which his light and brilliant fingering was heard to great advantage. There were two débuts, one vocal and the other instrumental. The former was that of M. Vrught, first tenor singer to the King of Holland. This gentleman, who has been a great favourite at all the concerts of the past season, at Amsterdam and the Hague, possesses a powerful and extensive voice, with a very fine falsetto. He sang, with great spirit, the Dutch National Hymn, in the original language, probably the first specimen of Dutch singing ever heard in an English concert. It was greatly admired and applauded. M. Ghys, the other débûtant, who has, we believe, come from Paris, is a violinist of great talent. He appears, however, to be more remarkable for powerful execution than for delicacy of tone or expression. The vocal part of the concert was, of course, secondary to the instrumental portion; but it was, nevertheless, very good, in proof of which, we need only mention that the names of Madame Caradori, Mrs Knyvett, Madame Stockhausen, Miss Clara Novello, and Miss Masson were in the list of singers. Mrs Knyvett’s ‘From Mighty Kings,’ and Madame Caradori’s ‘Non v’e sguardo, were perfect specimens of pure and finished execution, though in styles totally different, the one from the other. Mr Machin sang a new song by the Chevalier Neukomm, entitled ‘Our own British Oak.’ It is rather a noisy composition, and is not good enough to make us forget ‘The Sea,’ ‘The Stomy Petrel,’ and other popular productions of the same composer. The concert closed by a very clever extemporaneous performance by Mr Moscheles.

The Spectator (May 10, 1834): 442-443.

MR. MOSCHELES’ CONCERT.

AT the concerts of this artist, we are always sure of novelty; not of that sort, however, new without excellence, but of such as we should expect from his sound judgment and pure taste. In the instrumental department, there were a new Overture (which, though played in the Philharmonic once, may be termed a novelty to the public), and a Brilliant Rondo by one of the first composers of the age, besides the Concerto (also played at the Philharmonic) of the Concert-giver himself. In the vocal, there was the first appearance of a singer from the court of Holland; who gave two airs quite unknown here, and took part in a Duet of SPOHR’S, rarely heard, but not the less beautiful.

MENDELSSOHN’S Overture scarcely received justice, by reason of the orchestra not being complete; but its enchanting beauty was not altogether lost. His new Rondo is a masterly composition, redolent of gayety,—a very unusual occurrence, by the way, with him; and was admirably played by Mr. MOSCHELES. It is one of those superior productions which improve by repetition. We have already spoken of the Concerto Fantastique, and a further performance of it only confirms our opinion of its excellence; although we cannot place it on the same rank with his Concerto in G minor, or even his last in C. The Duet by HERZ was clever: it is not often we have the opportunity of hearing such a combination of brilliancy and power as the performance of Messrs. HERZ and MOSCHELES.

Mr. GHYS improves upon acquaintance as a player; though as a composer he can never afford us pleasure. M. De VRUGT has a rich, powerful, and very flexible voice; and what we particularly admire, he is a most expressive singer. His execution of “Maria” was charming. Of this composition, by VAN BREE, we cannot say much on the score of originality; for it is compounded of the idea of “Adelaida” by BEETHOVEN, and a favourite phrase of SPOHR; but it is most effective. The Dutch National Hymn, by WILMS, is deficient in character; but the melody is pretty, and expresses the words well. M. DE VRUGT’S performance of this air was sadly disfigured by feats of vocal agility. He made a run—suprising [sic] we admit—of two octaves down and one up, or twenty-four notes, ere he gave the last syllable of the third verse. With all submission, national songs are essentially simple, and therefore should be sung with perfect simplicity. SPOHR’S exquisite Duet from Jessonda was delightfully sung by Miss MASSON and DE VRUGT.

We have heard Mr. MOSCHELES more felicitous in his improvisation than on the present occasion. It seemed too much an effort. Such performances are misplaced at the end of a concert, during which the player has been fatigued, and possibly harassed, by unforeseen [sic] accidents, and when his mind can scarcely be in the most elastic condition fire a display of fancy. It strikes us, that the moment of accidental excitement, no matter when, should be seized upon for this purpose. Thus both player and listener would have greater enjoyment; and be saved the unhandsome interruption of that portion of the audience who follow the silly custom of rising to leave the room during the last piece, no matter what that may be, for no earthly reason except that it is the fashion.

The Atlas (May 11, 1834): 300.

Mr. Moscheles’ Concert.

WE have rarely attended so interesting a performance on any similar occasion, as was given at the benefit concert of Mr. MOSCHELLES, on Thursday. Instead of the bad music, of which there is usually so much to wish away at the concerts of our artists, there was here so rich a succession of good things as rendered the musical morning in the highest degree entertaining and satisfactory. MENDELSOHN’S overture to Melusine was played, if not with all the force of the Philharmonic orchestra, with more intelligence of the author. In the estimation of the musician who can detect good thoughts in an unpretending garb, this overture must be classed among the most successful of MENDELSOHN’S efforts. We heard Mr. MOSCHELES with renewed pleasure in his concerto fantastique. Of this composition, the new design of which, from its comprehensiveness, is admirably adapted to the concert-room, we can, perhaps, hardly convey a better idea, than by saying that the music makes us forget the player. This is very unusual in concertos, in which commonly the manner, rather than the matter, engrosses the hearer. It is only at the end of this piece, after listening to the various effects of the orchestra, in the development of a succession of natural and graceful ideas, and after watching their connexion and influence upon the main design, that we become aware of having listened to a very delightful work of art, and that the author and performer is MOSCHELES. Music of the highest class has a property, in common with poetry, to make the author but an after-thought, when the immediate enjoyment in his work is past; yet, from this very suspension of acknowledgment, what force does not admiration acquire, and what a reward awaits the enviable artist who can thus work upon his auditory! In a new rondo brillant in E flat, by MENDELSOHN, which is good music, but still made with a principal view to the display of the player, there was more leisure to remark the exquisite control [sic] over his fingers which Mr. MOSCHELES possesses. Brilliancy in perfection, and, as usual, an absolute certainty of every note in the most difficult passages characterised this performance. If any thing could add to our pleasure in this exhibition of a finished mechanism, it was that the pure tone of the instrument was brought out the whole way without clang or thumping. M. HERZ, who played a concertante duet with Mr. MOSCHELES, appears to us to offend a little in this respect—last year he was not a noisy player, but now he seems terribly given to clattering. There are a few bars, and only a few, in his composition that are for the ear of the musician—the rest is level to the popular taste, and mere finger-work. M. DE VRUGT, first tenor singer to the King of Holland, charmed us with what is called in the bill a Dutch ballad, but in English estimation more nearly by approaching to a cantata, though that term is hardly fit to describe the peculiarities of this very delightful style of chamber music. This song was executed to the accompaniment of the pianoforte—it is called “Maria,” and the subject of it appears to be the address of a husband to his deceased wife. We have not heard any thing more impassioned, tender, and beautiful, for a long time. The song begins slowly in F minor, goes afterwards into an agitato movement in the same key, and ends in the major; and, tracing the composer’s design by a translation, we were delighted to observe the truth with which the situation had been imagined. Let Mr. VAN BREE, the composer, be set down as the prince of musical Dutchmen, and one who penetrates into the depths of the sentiment and passion of music. Mr. DE VRUGT has a good voice, peculiar in its extent downwards for a real tenor: he sings well in tune, and with a great deal of verve and feeling. He ought not, being so good a musician as he is, to be quite so fond of violent contrasts of loud and soft, nor to flourish quite so much as he appeared inclined to do in his patriotic song: but, for the sake of “Maria,” all his little peccadilloes must be overlooked. M. GHYS performed an adagio and an air with variations on the violin, different from that which he played at the Philharmonic Concert, but very pleasing music, particularly the introduction in B minor. We have heard few performers who sing with more delightful expression on the violin than M. GHYS, and particularly on the fourth string, which he tunes a note higher than usual with excellent results.

Supplement to the Musical Library (June 1834): 34.

THEME ORIGINAL, ET VARIATIONS, precédé d’un Adagio, pour le Violon, avec accompagnement de Piano, par J. GHYS, Op. 10. (Cocks.)

This was performed by M. Ghys at Mr. Moscheles’ Concert, in an uncommonly skillful [sic] manner, the execution of it drawing forth the warmest applause; but the music was not so much admired as the mode of playing it, a circumstance which an inspection of the composition at once explains, for though contrived to show great power over the instrument, it contains very little that will give it much chanceof standing on its own merits.

Supplement to the Musical Library (July 1834): 45.

MR. MOSCHELES’, Hanover Square Rooms, May 8th—Morning.—The principal features of this concert were, the new Concerto Fantastique of Mr. Moscheles, played by him at the Philharmonic Concert, in April (for an account of which we refer the reader to our last Number), and a Rondo Brillant, with orchestral accompaniments, written for this occasion by his friend M. Mendelssohn, a very clever composition, and executed with all that energy and extraordinary accuracy which characterize Mr. Moscheles’ performances. A M. Vrugt, ‘first tenor singer to H. M. the King of Holland,’ made his début in a Dutch ballad, ‘Maria,’—the lamenting of a husband over a deceased wife—an elegant composition, full of tender expression, but certainly an imitation of Beethoven’s Adelaide. We have mentioned this artist in another part of the present Number. M. Ghys, who appeared at the fourth Philharmonic, played in a very masterly manner a Fantasia, &c.; and Mr. Moscheles concluded the concert by an extemporaneous performance on the pianoforte. The room was fully and fashionably attended.

Ibid., 46.

GRAND RONDEAU BRILLANT, for the Pianoforte, with orchestral accompaniments, composed by F. MENDELSSOHN BARTHOLDY. (Mori and Lavenu.)

WE have before us the piece performed by Mr. Moscheles, to whom it is dedicated, at his last concert, where the connoisseurs listened to it with pleasure, though the majority of the audience could not, on a first hearing especially, have felt or understood a single page of it; but nearly all applauded it with a warmth implying a capability of entering into its beauties.

The Musical World (February 25, 1854): 128.

…it [Overture to Melusine] was performed again on the 8th of May following, at Moscheles’ own concert, and was better appreciated than on the occasion of its first trial.