9 May 1822

Franz Cramer’s and Johann Baptist Cramer’s Concert

London: Concert Room, King’s Theatre—Time: Evening, Eight o’Clock

Tickets: 10s. 6d.

 

Programme

Part I    
Symphony No.9 in C major Haydn
From The Creation
Recit. and Aria, ‘In native worth’		Mr. VaughanHaydn
Piano Concerto No.2 in D minorMr. J. B. CramerJ. B. Cramer
From La clemenza di Tito
Aria, ‘Parto, ma tu ben mio’		Signora Camporese;  Clarinet Obbligato: Mr. WillmanMozart
Adagio and Variations with Orchestral     Accompaniments for the HarpMr. DiziDizi
From The Creation
Recit. and air, ‘With verdure clad’		Mrs. SalmonHaydn
Quintet for Piano, Violin, Viola, Violoncello and Double Bass (MS) [Op.60]  Messrs. J. B. Cramer, F. Cramer, Moralt, Lindley, DragonettiJ. B. Cramer
Part II  
Violin Obbligato Concerto Martini
From Joseph and his Brethren: Duet, ‘What’s sweeter than the new blown rose’Miss Stephens, Mr. VaughanHandel
Piano Sonata for two PianosMessrs. J. B. Cramer, MoschelesJ. B. Cramer   & Moscheles
From Jephtha:  
Recit. acc., ‘Ye sacred Priests’  
‘Farewell ye limpid’		Miss StephensHandel
Overture, Zaira Winter
Principal Vocalists: Miss, Salmon, Miss Stephens; Mr. Vaughan  
Principal Instrumentalists: Messrs. Dizi, Dragonetti, F. Cramer, Griesbach, Harper, Ireland, J. B. Cramer, Jenkinson, J. Petrides, Lindley, Mackintosh, Mariotti, Moscheles, Moralt, R. Ashley, P. Petrides, Willman
Leader: Mr. Franz Cramer

———————————

Programme Notes: The piano brand was Broadwood.—The programme by John Bull advertised in the first part Mozart’s Overture Die Zaüberflote. Haydn’s Symphony was advertised in the second part after the intermission (excluding Martini’s Violin Concerto).—The third movement of the Piano Sonata performed by Cramer and Moscheles was composed for this occasion by the latter. Moscheles in 1835 composed an introduction to the specific composition (Allegro) and called the set Hommage à Händel, Op.92.

Moscheles: There [in London]…I found J. B. Cramer on the point of giving his yearly concert. He showed me two movements of a Sonata which he wished to play with me, and expressed a desire that I should compose a third movement as a finale; only I was not to put any of my octave passages into his part, which he pretended he could not play. I can refuse him nothing. I shall therefore be obliged to strive and write something analogous for him, the disciple of Mozart and Handel….The strong metal plates…used by Broadwood in building his instruments, give a heaviness to the touch, but a fullness and vocal resonance to the tone, which are well adapted to Cramer’s legato, and those fingers softly gliding from key to key; I, however, use Clementi’s more supple mechanism for my repeating notes, skips, and full chords. [RMM, 43-44.]

Charlotte: The piece which Moscheles wrote in haste for this concert of Cramer’s, as a finale to his friend’s sonata, is the Allegro of the well known and constantly played Hommage à Handel, which he afterwards converted into an independent piece, by composing an introduction to it, and publishing it in this form for two pianos. This novelty, on the occasion of the first performance at Cramer’s concert on the 9th of May, created a furore. To hear Moscheles, of whom the newspapers said “that his execution is most wonderful, and more wonderful because he always makes the right use of his genius”, playing together with “glorious John”, and in addition to that, in a composition on which both had worked, was “an unrivalled treat, an unprecedented attraction”. Each of them had chosen a Broadwood instrument, Cramer as usual, Moscheles only on this occasion… Cramer’s D minor concerto, and the new quintet led by his brother Francois, in which Lindley, the favorite violoncello player, besides Dragonetti and Moralt, took part, pleased exceedingly. F. Cramer was a good musician, a great admirer of his brother, but himself merely a clever practical artist, without any genius for composition. [RMM, 44.]

Advertisements

The Quarterly Musical Magazine and Review, vol. IV (May 1822): 257.

9. Messrs. Cramer’s Concert–Opera Concert Room.

The Morning Chronicle (May 2, 1822): 1.

GREAT ROOMS, KING’S THEATRE.—The Messrs. CRAMER most respectfully acquaint the Nobility, Gentry, and their Friends in general, that their CONCERT will take place on Thursday next, the above Rooms. Mr. Moscheles has kindly offered to perform with Mr. Cramer in a Duet for two Piano-fortes. Principal Vocal Performers: Mad. Camporese and Mr. Salmon, Miss Stephens and Mr. Vaughan. Leader, Mr. F. Cramer; Piano-forte, Mr. Cramer; Harp; Mr. Dizi—Principal Instrumental Performers: Messrs. R. Lindley, Dragonetti, Moralt, R. Ashley, Ireland, Griesbach, Willman, Mackintosh, the Petrides, Harper, Mariotti, and Jenkinson.—Tickets, Half a Guinea each, to be had of Mr. Cramer, No. 239, Oxford-street; Mr. F. Cramer, No. 192, Oxford-street; at the Royal Harmonic Institution, Regent-street; at Messrs. Birchall and Co.’s, New Bond-street; and Mr. Betts’, Royal Exchange.

John Bull (May 5, 1822): 576.

GREAT ROOMS, KING’S THEATRE.

THE MESSRS. CRAMER most respectfully acquaint the Nobility, Gentry, and their Friends in general, that their CONCERT will take place on THURSDAY, at the above Rooms.—Mr. Moscheles has kindly offered to perform with Mr. Cramer in a Duet for two Piano Fortes.—Leader. Mr. F. Cramer: Piano Forte, Mr. Cramer; Grand Perpendicular Harp, Mr. Dizi—First Act. Overture, (Zauberflote) [sic] Mozart; Recit. and Air, Mr. Vaughan, “In native worth.” (Creation) Haydn; Concerto, Piano Forte, Mr. Cramer, (in D minor) by particular desire, Cramer Aria, Madame Camporese, “Parto, ma tu ben mio,” with Clarionet Obligato, Mr. Willman, Mozart; Adagio and Variations, with Orchestral Accompaniments, for the Perpendicular Harp, Mr. Dizi, Dizi; Recit. and Air, Mrs. Salmon, “With verdure clad,” (Creation) Haydn; New Quintett, (MS) composed for this occasion, for Piano Forte, Violin, Viola, Violoncello, and Contra Basso, by Messrs. Cramer, F. Cramer, Moralt, Lindley and Dragonetti. Cramer.—Second Act. Sinfonia No.9, Haydn: Duet, Mss Stephens and Mr. Vaughan, “What’s sweeter,” (Joseph) Handel; Duet for Two Grand Piano Fortes, Mr. Cramer and Mr. Moscheles, Cramer and Moscheles; Recit. acc. Miss Stephens, “Ye sacred priests.”—Song, “Farewell ye limpid,” (Jephthah); Overture. (Zaira) Winter. Principal Instrumental Performers- Messrs. R. Lindley, Dragonetti, Moralt, R. Ashly, Ireland, Griesbach, Willman, Mackintosh, the Petrides, Harper, Mariotti, and Jenkinson. The concert will begin precisely at eight o’clock.—Ticket Half a Guinea each, to be had of Mr. Cramer, No. 239, Oxford-street; Mr. F. Cramer, No. 192, Oxford-street; at the Royal Harmonic Institution. Regent-street; at Messrs. Birchall and Co.’s. New Bond-street; and Mr. Betts’, Royal Exchange. Tickets already issued for the New Rooms, Hanover-square, will be admitted.

The Morning Post (May 9, 1822): 1.

GREAT ROOMS, KING’S THEATRE.—The Messrs. CRAMER most respectfully acquaint the Nobility, Gentry, and their Friends in general, that their CONCERT will take place THIS EVENING, May 9, in the above Room. Mr. Moscheles has kindly offered to perform with Mr. Cramer in a Duet for two Pianofortes. Leader, Mr. F. Cramer; Pianoforte, Mr. Cramer; Grand Perpendicular Harp. Mr Dizi. FIRST ACT-Sinfonia, No. IX, (Haydn).—Recit. and Air, Mr. Vaughan, “In native worth,” Creation, (Haydn.)—Concerto, Pianoforte, Mr. Cramer, in D. Minor, by particular desire, (Cramer.)-Aria, Madame Camporese, “Parts ma tu ben mio;” with Clarinet Obligato, Mr. Willman, (Mozart.)—Adagio and Variations. With Orchestral Accompaniments, for the Perpendicular Harp, Mr. Dizi, (Dizi.)—Recit. and Air. Mrs. Salmon, “With Verdure clad” Creation, (Haydn.)—New Quintett, (MS.) composed for this occasion, for Pianoforte, Violin, Viola, Violoncello, and Contra Basso, by Messrs. Cramer, F. Cramer, Moralt, Lindley, and Dragonetti, (Cramer.) SECOND ACT.—Concerto Violino Obligato, Mr. F. Cramer, (Martini)—Duet, Mss Stephens and Mr. Vaughan, “What’s sweeter,” Joseph, (Handel.)—Duet for Two Grand Pianofortes, Mr. Cramer and Mr. Moscheles, (Cramer and Moscheles.)—Recit. acc. Miss Stephens, “Ye sacred Priests.”-Song, “Farewell ye limpid,” Jephtha. (Handel.)—Overture, (Winter.) Principal Instrumental Performers: Messrs. R. Lindley, Dragonetti, Moralt, R. Ashley, Ireland, Griesbach, Willman, Mackintosh, the Petrides, Harper, Marriotti, and Jenkinson.—The Concert will begin precisely at Eight o’Clock.—Tickets Half-a- guinea each, to be had of Mr. Cramer, No. 239. Oxford-street; Mr. F. Cramer, No. 192, Oxford-street; at the Royal Harmonic Institution, Regent-street; at Messrs. Birchall and Co.’s, New Bond-street; and Mr. Betts’, Royal Exchange. Tickets already issued for the New Rooms, Hanover-square, will be admitted.

Allgemeine musikalische Zeitung (June 19, 1822): 412.

[London, 30 April] Zum Schluss diene die Nachricht, dass Hr. Moscheles so eben aus Paris hier eingetroffen, und dass er Willens ist, sich hier bis gegen Ende July aufzuhalten, und dann eine Kunstreise nach Berlin zu machen. Uebermorgen spielt er in der Gebrüder Cramer Benefice-Concerte, mit J. B. Cramer ein Duo für zwey Pianoforte’s, welches sie gemeinschaftlich componirt haben.

Reviews

The Quarterly Musical Magazine and Review, vol. IV (May 1822): 260-261.

The performance which attracted the most notice amongst the few extraordinaries at the benefit concerts was a duet upon two piano fortes by MR. J. B. CRAMER and MR. MOSCHELES.—This was first given at Messrs. CRAMER’s concert, and subsequently at MRS. SALMON’S. The history of the composition we believe to be as follows:—When MRS. BILLINGTON first returned from Italy, she was requested by MR. CRAMER to sing at his benefit concert, but the articles under which her engagement at the Opera-house was completed, were so strict as to put her performance into the power of the Manager. He forbad MRS. BILLINGTON to sing, and she, stung by his refusal, volunteered to play a duet with MR. CRAMER. The composition we allude to was written, and has been reproduced on this occasion, with the substitution of a movement at the end, by MR. MOSCHELES. The great Opera Concert Room was filled on the night of MESSRS. CRAMER’S benefit, and the duet was the grand object of universal anticipation.

MR. Cramer has long been known as a smooth and polished player, of exquisite expression, and the nicest possible finish. The world has DONE ample justice to his unquestionable talent. He is now past the fire of his youth, and entered upon that period when tranquillity of feeling quenches all very vivid emotions. The manner of MR. MOSCHELES is distinguished by its force, elasticity of touch, rapidity, and transition. He is in the vigour of his youth, and is scarcely less remarkable than MR. CRAMER himself for the delicacy as well as the fire of his conceptions. In this amicable display of power both were tasked tothe [sic] utmost, and so far as public performance (which upon such an instrument must yield in interest to private) could gratify an audience, gratification could not be carried further. The plaudits were long, loud, and universal, while the worthy professors, at the close of the duet, exchanged congratulations with the cordial warmth of mutual admiration.

At MESSRS. CRAMER’S concert MR. DIZI played an Adagio with variations upon the perpendicular harp. This instrument takes its title from the position of the strings which, instead of passing at the side of the arch, pass through it; the string therefore is not deflected from its perpendicularity [sic]. Mr. DIZI has long been celebrated for the superior beauty of the tone his touch produces—and whether from the player or from the instrument, or from both, we know not, but we never remember to have heard such fine effects in this respect elicited from the harp before.

Allgemeine musikalische Zeitung (September 18, 1822): 623-624.

[London, 19 July] Hr. Moscheles spielte im letzten philharmonischen Concerte ein noch ungedrucktes Concert von seiner eigenen Composition mit vielem Beyfall und liess sich auch in J. B. Cramers, in Kiesewetters und seinem eigenen Benefice Concerte mit gleichem Erfolg hören. Es ist zu bemerken, dass Hr. J. B. Cramer demselben auf alle Weise seinen grössten Beysall bezeugt und sogar von Hrn. Moscheles einen neuen zweyten und dritten Satz zu seinem beliebten Duett für zwey Pianofortes setzen lassen und dass er dieses Duett in seiner neuen Gestalt mit Hrn. Moscheles zweymal öffentlich gespielet hat. Eine solche allzunahe Zusammenstellung zweyer ausgezeichneten Talente, in einem und demselben Fache,  wird sonst gewöhnlich vermieden, weil der Er folg davon selten für beyde Parteien gleich an genehm ausfällt. In Ansehung des obigen Cramerschen Duetts, welches für zwey Spieler auf einem Instrumente gedruckt und sehr beliebt ist, kann man auch nicht errathen, warum die bey den letztern Sätze unterdrückt, und mit andern von einem neuern Meister vertauscht worden sind. Ueberdiess wird dadurch die Einheit des Charakters der Composition aufgehoben. Selbst die Spielart, womit diese beyden Virtuosen das Stück vortrugen, war nicht diejenige, nach welcher Hr. Cramer es ursprünglich mit Mad. Billington vorgetragen hat, und welche wohl immer die beste bleiben wird, nämlich die, nach welcher man jeden Satz, zwar mit Gefühl und Geschmack, aber doch nach einem festgesetzten Tempo spielt, sondern diejenige, welche man hier jetzt für die neueste deutsche Mode-Spielart hält, und nach welcher man sich an kein festgesetztes Tempo bindet, sondern ganze Perioden von längern Notengattungen langsamer, und die von kürzern Notengattungen geschwinder spielt, als das herrschende Tempo es erfordert. Ersteres soll eine höhere Art des Ausdrucks vorstellen, ist aber nur eine Verzerrung desselben; und letzteres soll ein höherer Grad des brillanten Spieles seyn, gleicht aber nur der Aengstlichkeit, in welche furchtsame Schüler bey bunten Passagen zu leicht verfallen, und durch welche nicht nur alle wahre Declamation, sondern selbst manche wirkliche Note verloren geht. Von dem erwähnten steten Verändern des Tempos ganzer Perioden ist jedoch das gelegentliche kleine Dehnen einzelner Noten, in welchem Dussek glücklich war und wodurch das Tempo nicht verrückt wird, wohl zu unterscheiden. Denn dieses hat allerdings seinen Werth, wenn es zweckmässig angebracht wird.

Allgemeine musikalische Zeitung (September 18, 1822): 623-624.

London den 23sten August. Bericht über die diessjährigen philharmonischen Concerte.

… Den 10ten Juny gab man uns das achte und letzte Concert. An Sinfonieen-Exercitien aufstrebender Kraftgenies hatte man sich satt gehört, und es lässt sich nicht beschreiben, mit welchem Entzücken die beyden unvergänglichen Meisterstücke: Mozart’s Sinfonie in Es, Anfangs des ersten, und Beethoven’s in C moll, Anfangs des zweyten Concerttheils aufgenommen wurden. Nach jener ersten von Mozart wurde aus Haydns Schöpfung gesungen, „Now heaven in fullest glory shone“ von Signor Zuchelli oder eigentlich Mr. Kelly, dessen Namen man aber italienisirt hat, weil hier nun einmal das Vorurtheil herrscht, man müsse, um ausgezeichnet zu singen, ein Italiener, so wie, um ausgezeichnet zu spielen, ein Deutscher seyn. Hr. Zuchelli oder Kelly hat bey seltener Tiefe eine wahre Stentorstimme, und man kann mit Wahrheit sagen, dass er die Zuhörer erschütterte. Das dritte Stück war ein neues Klavierconcert unsers Moscheles, gespielt von ihm selbst. Das Concert als Composition gefiel wegen der Länge, und weil es in der weichen Tonart ist, die die Engländer so ungern haben, vielleicht nicht allgemein, desto mehr aber der unvergleichliche Spieler. Damit man aber in Deutschland erfahre, wie in England über den jungen Künstler geurtheilt werde, welcher in so kurzer Zeit und ohne alle Gönnerschaft der hiesigen Grossen, allein durch eigene Kraft, so viel Glück gemacht hat, so füge ich einige Stellen aus den zahlreichen Kritiken unserer vorzüglichsten Zeitschriften in der Ursprache bey.