23 July 1821

Lewis Sapio’s Subscription Concert

London: Lady Desanges’ Residence

Time: Evening



From False Alarms: Song, ‘Said a Smile to a Tear’Mr. SapioBraham
From Nina: DuetSignor de Begnis, Mr. SapioRossini
From Otello: Duet, ‘Amor possente nume’  Signora Camporese, Mr. SapioRossini
From Twelfth Night: Song, ‘Bid me discourse’  Miss GoodallBishop
Piano FantasiaMr. Moscheles 
Trio, ‘Tremo in parlar’Signora de Begnis, Signor de Begnis, Mr. Sapio 
Principal Vocalists: Signora Camporese, Signora de Begnis, Miss Goodall; Signor de Begnis, Messrs. Ambrogetti, Sapio
Principal Instrumentalists: Messrs. Bochsa, Lindley, Moscheles, Signor Puzzi
Conductor: Sir George Smart



The Morning Post (July 25, 1821): 3.


Lady Desanges granted the use of her elegant mansion, on Monday evening last, to Mr. SAPIO, jun. (first Tenore to the King of France), who has come to settle in this country under the first patronage.

The Concert was attended by 300 fashionables. Madame CAMPORESE and Mr. SAPIO sung ROSSINI’S beautiful duet “Amor possente nume,” in the most finished style. Mr. SAPIO also sung (by particular request). “Said a Smile to a Tear,” which gave him an opportunity of displaying his fine rich voice, taste, expression, and execution. PAISIELLO’S fine duet of NINA, was exquisitely sung by Messrs. SAPIO and DE BEGNIS, who also sung, “Tremo in parlar,” with Madame RONZI DE BEGNIS, in a very superior manner. Miss GOODALL gave BISHOP’S fine song, “Bid me discourse,” in a manner that delighted the company. AMBROGETTI was a clever and as humourous [sic] as ever. Among the instrumental performers were, MOSCHELLES, who had astonished and delighted, by his wonderful powers on the Piano-forte, Mr. BOCHSA, on the Harp, PUZZI, on the French-horn, and LINDLEY, on the Violoncello, the names of who are vouchers for the superiority of the performance. Sir GEORGE SMART conducted the whole with his usual ability and urbanity. Among the company we noticed the Marchioness of DOWNSHIRE, Marchioness of SALISBURY, Lord and the Ladies HILL, Countess St. ANTONIO, his Excellency Count DE GRAMMONT, Duke of DEVONSHIRE, Lord LOWTHER, Lady STUART, Lady FLINT, Lord FIFE, General TAYLOR, and General UPTON, who appeared highly delighted with the rich musical treat Mr. SAPIO had provided, and who were pleased to signify their approbation of his vocal powers, in a manner that must be very flattering to his feelings.

The London Magazine, vol. IV (August 20, 1821): 316.

The only novelty in the musical world, since our last report, has been the private subscription concert given by Mr. Sapio, jun. The house of Lady Desanges was opened on this occasion, and the tickets were one guinea each. Every part of the entertainment was in the highest order of excellence and elegance. Sir George Smart conducted. Messrs. Moscheles, Bochsa, Puzzi, and Lindley, were the principal instrumentalists, the concert being chiefly vocal.  Madame Camporese, Madame Ronzi de Begnis, Miss Goodall, Signors de Begnis and Ambrogetti, and Mr. Sapio, were the singers; and it follows, that every thing was executed in the most perfect manner. Mr. Sapio, in Rossini’s duet, Amor possente Numi, with Madame Camporese, gave proofs of his masterly accomplishment in the great style of singing, while Said a Smile to a Tear (which was introduced by desire) exhibited his power of ornament to equal advantage. His voice is purely una voce di camera; but his command and variety of manner, together with the neatness and finish of his execution, render him, particularly at this moment, a most valuable accession to the list of our vocalists.

11 July 1832

Grand Musical Party

London: At Nathan’s Rothschild’s Country House, Stamford Hill

Time: Evening


Moscheles: Grosse musikalische Soirée bei Rothschild auf seinem Landhause in Stamfordhill, für die jetzt wegen der bevorstehenden Krönung Georg’s IV. anwesenden fremden Minister, denen ich grösstentheils vorgestellt wurde. Sie und der alte Fürst Esterhazy bezeigten grosse Zufriedenheit überm’ein mehrmaliges Spielen und Phantasiren. Dazwischen liessen sich englische Vocal-Talente, ein- und vierstimrnig hören. Erst um 4 Uhr zu Hause angelangt. [AML I, 60.]


The Morning Post (July 10, 1821): 3.

Mr. ROTHSCHILD intends giving a most superb Entertainment, at his villa at Stamford-hill, to-morrow, to the Elder Prince ESTERHAZY and the suite of German Noblemen who have just arrived. To this banquet will be invited the Ministers, &c. The fine house and gardens will be illuminated.


The Morning Post (July 13, 1821): 3.


Mr. ROTHSCHILD gave his promised entertainment on Wednesday, in a style of surprizing magnificence taste, at his beautiful villa on Stamford Hill.

The party consisted of the Princes ESTERHAZY and their respective suites. The Prince of LEON was also a guest. In the Great Banqueting-room of this fine edifice, (the style Tuscan), covers were laid for thirty-two; at half-past seven the company sat down to a dinner, consisting of turtle and other delicacies; the fruits were the produce of the hot-house, but the wines, all from the Rhine, excelled any yet imported; there were fifteen different sorts, all of German growth. When the cloth was removed, golden ewers and basins were handed round with water. Among the novelties, were many dishes dressed after the Jewish manner.

At ten o’clock they got up from table, and joined the Ladies in the Saloon: at eleven the Drawing-room displayed a splendour of dress, in diamonds and embroidery little expected. To enliven the scene, that inimitable comic actor, TAYLOR, gave his imitations of the living and the dead ; his personifications of COOKE, KEMBLE, LISTON, and ELLISTON, were admirable; he then gave an outline of himself.

The Princes ESTERHAZY and LEON departed at twelve, then the company retired to sumptuous supper. It was three in the morning before the party broke up.

The Dining-room communicates with the finest Conservatory perhaps in the world, it was filled with pines and grapes, growing in full luxuriance. But what attracted still more notice, was the enchanting picture which the country around presented—rich in pasture, skirted by a tide river.

The Public Ledger and Daily Advertiser (July 14, 1821): 2.

MR. ROTHSCHILD’S GRAND FETE.—Mr. Rothschild gave his promised entertainment on Wednesday, in style of surprising magnificence and taste, at his beautiful villa on Stamford-hill. The party consisted of the Princes Esterhazy and their respective suites. The Prince of Leon was also guest. In the grand banqueting-room of this edifice (the style Tuscan) covers were laid for 32; at half-past seven the company sat down to a dinner, consisting of turtle and other delicacies; the fruits were the produce of the hot-house; but the wines, all from the Rhine, excelled any yet imported; there were fifteen different sorts, all of German growth.—When the cloth was removed, golden ewers and basins were handed round with water. Among the novelties, were many dishes dressed after the Jewish manner. At 10 o’clock the Gentlemen got up from table, and joined the Ladies in the Saloon; at 11, the drawing-room displayed a splendour of dress, in diamonds and embroidery, seldom equalled. The Princes Esterhazy and Leon departed at 12, and the company retired to sumptuous supper. It was three in the morning before the party broke up

5 July 1821

Andrew and Mary Ashe’s Annual Benefit Concert

London: New Argyll Rooms

Time: Evening Tickets: 10s. 6d., Boxes available



Cello SoloMr. Lindley, jun. 
Concert pieces  
Piano FantasiaMr. Moscheles 
Principal Vocalists: Mesdames Camporese, Vestris, Mrs. Ashe, Miss Carew, Miss F. Corri, Miss R. Corri, Mrs. Salmon; Master Smith, Messrs. Begrez, Bellamy, Braham, Vaughan, W. Knyvett, Signors Agrisani, Curioni, Placci, Torri
Principal Instrumentalists: Miss Ashe, Miss H. Ashe; Messrs. Ash, Bochsa, Dragonetti, Lindley, Lindley jun., Mori, Moscheles, Puzzi
Leader: Mr. Franz Cramer; Conductor: Sir George Smart



The Morning Chronicle (July 5, 1821): 1.

NEW ARGYLL ROOMS.— —Mr. and Mrs. ASHE have the honour to acquaint the Nobility, Gentry and their FRIENDS in general, that their ANNUAL BENEFIT CONCERT will take place THIS EVENING, when the following eminent Performers will sing several of the most favourite Airs, Duets, Terzettos, and Concerted Pieces: Madame Camporese and Mrs. Salmon, Madame Vestris and Signora Corri, Miss Carew and Miss R. Corri, Master Smith, Mrs. and the Missus Ashe; Mr. Vaughan and Mr. Begrez. Mr. W. Knyvett and Mr. Bellamy, Signor Torri and Signor Curioni, Signor Placci and Signor Agrisani, and Mr. Braham; Mr. Mori on the Violin; Mr. Bochsa and Miss Ashe on the Harp; Miss H. Ashe, on the Piano-forte; Mr. Puzzi, on the French Horn; Mr. Ashe, on the Flute; Mr. Dragonetti, on the Double Bass; and Mr. Lindley, and Mr. Lindley, jun. on the Violoncello will play Solo and Concerted Pieces in the course of the Concert. Leader of the Band (which will be complete), Mr. F. Cramer. Sir George Smart will preside at the Piano-forte.—Tickets, half a guinea each, to be had of Mr. and Mrs. Ashe. No. 11, Poland-street. Pantheon; and at the principal Music Shops.—Parties of six air and upwards may be accommodated with Boxes, by an early application to Mr. and Mrs. Ashe.

Ibidem., 2.

Mr. ASHE is happy to have it in his power to announce, that the very celebrated Mr. MOSCHELES, whose undescribable [sic] powers on the Piano Forte not only delighted, but astonished a crowded auditory, who honoured his Concert last night with his presence, has kindly offered to Perform a Grand Fantasia at Mr. and Mrs. Ashe’s Benefit Concert, This Evening, at the Argyll Rooms.—(Vide Advertisement in the First Page)

The Morning Post (July 5, 1821): 1.

NEW ARGYLL ROOMS.— —Mr. and Mrs. ASHE have the honour to acquaint the Nobility, Gentry and their Friends in general, that their ANNUAL BENEFIT CONCERT will take place THIS PRESENT EVENING, July 5, when the following eminent Performers will sing several of the most favourite Airs, Duets, Terzettos, and Concerted Pieces: Madame Camporese and Mrs. Salmon, Madame Vestris and Signora Corri, Miss Carew and Miss R. Corri, Master Smith, Mrs and the Missus Ashe; Mr. Vaughan and Mr. Begrez. Mr. W. Knyvett and Mr. Bellamy, Signor Torri and Signor Curioni, Signor Placci and Signor Agrisani, and Mr. Braham; Mr. Mori on the Violin; Mr. Bochsa and Miss Ashe on the Harp; Miss H. Ashe, on the Pianoforte; Mr. Puzzi, on the French Horn; Mr. Ashe, on the Flute; Mr. Dragonetti, on the Double Bass; and Mr. Lindley, and Mr. Lindley, jun. on the Violoncello, will play Solo and Concerted Pieces in the course of the Concert, as will be expressed in future advertisements. Leader of the Band (which will be complete), Mr. F. Cramer. Sir George Smart will preside at the Pianoforte. Tickets, half a-guinea each. To be had of Mr. and Mrs. Ashe. No. 11, Poland-street. Pantheon; and at the principal Music Shops.—Parties of Six, and upwards, may be accommodated with Boxes, by an early application to Mr. and Mrs. Ashe.

Ibidem., 3.

Mr and Mrs. ASHE’S concert at the Argyll Rooms this evening, holds out greater attraction than any Benefit Bill we have noticed this season; in addition to which, the high estimation that Mr. and Mrs. ASHE and family are held in can leave no doubt of a full attendance.


The Morning Post (July 7, 1821): 3.

NEW ARGYLL ROOMS.—The Concert which took place on Thursday night in these Rooms was for the benefit of Mr. and Mrs. ASHE, whose respective talents are too well known to require our eulogium. Their on powers, and those of two of their daughters, were very successfully exerted.—A duet on the harp and piano-forte by the Misses Ashe was one of the most admired efforts of the evening. Mr. MOSCHELES volunteered his services, and again astonished the audience by his excellence on the piano-forte. “Address to the Nightingale,” gave scope to the vocal powers of Miss H. Ashe, and to her father’s skill in his accompaniment on the flute. We have not room to say more than that the Concert altogether was a charming treat, as may be readily conceived, considering that it was also supported by BRAHAM, BEGREZ, TORRI, CURIONI, CAMPORESE, Mrs. SALMON, &c. in the vocal department; and LINDLEY, MORI, BOCHSA, PUZZI, &c. in the instrumental.

4 July 1821

Ignaz Moscheles’ Evening Concert

London: New Argyll Rooms

Time: Evening, Eight o’Clock

Tickets: 10s. 6d.



*SongMr. BegrezB. Romberg
Part I  
Overture, La clemenza di Tito Mozart
From La clemenza di Tito: Aria, ‘Parto, ma tu, ben mio’Signora CamporeseMozart
Piano Concerto No.2 in E flat majorMr. MoschelesMoscheles
TerzettoMiss [E.] Ashe, Miss [H.] Ashe, Mrs. AsheBenincori
Scene and AriaMrs. SalmonRossini
Violin FantasiaMr. Libon 
From Le nozze di Figaro: Aria, ‘Dove sono’Miss CorriMozart
Glee for Three Voices, ‘When Sappho tun’d’Messrs. Knyvett, Sale, VaughanDanby
Part II  
Piano Fantasia and Variations on the favourite air ‘Au clair
de la Lune’ with Orchestral Accompaniments (Op.50)
Mr. MoschelesMoscheles
From Otello: Duet, ‘Amor possente nume’Miss Corri, Mr. BegrezRossini
Flute FantasiaMr. TulouTulou
Scene and AriaMr. BrahamBeethoven
Free Piano Fantasia, incl. ‘My Lodging is on the cold ground’Mr. Moscheles 
Overture, Die Geschöpfe des Prometheus Beethoven
Principal Vocalists: Miss E. Ashe, Miss Corri, Miss H. Ashe, Mrs. Ashe, Mrs. Salmon, Signora Camporese; Messrs. Begrez, Braham, Knyvett, Sale, Vaughan    
Principal Instrumentalists: Messrs. Libon, Moscheles, Tulou
Leader: Mr. Franz Cramer; Conductor: Mr. Johann Baptist Cramer


Moscheles: At last my concert, which cost me such trouble to arrange, came off today in the Argyle Rooms. The Concerto and the Clair de Lune Variations went well, and were very favourably received; but what pleased most was my extempore playing on the air ‘My lodging is on the cold ground’. Cramer accompanied the vocal pieces on the piano. Mrs. Salmon, Camporese, the Ashes, [Miss] Corri, [Messrs.] Begrez, and Braham were the singers. I was also assisted by the violinist Kori. [RMM, 38.]


The Morning Post (June 22, 1821): 1.

M. MOSCHELES (of Vienna) has the honour to announce, that his CONCERT, under the patronage of his Serene Highness Prince Esterhazy, will take place at the New Argyll Rooms, on WEDNESDAY, 4th July. Leader, Mr. F. Cramer: Conductor, Mr. J. B. Cramer. Tickets, 10s. 6d. each, to be had of M. Moscheles, S43. Oxford-street; at the Royal Harmonic Institutions; and at all the principal Music Shops.

The Morning Post (July 2, 1821): 3.

Wednesday: Mr. Moscheles’ Evening Concert, New Argyll Rooms.

The Morning Chronicle (July 4, 1821):1.

MR. MOSCHELES, of Vienna, has the honour to announce, that his CONCERT, under the patronage of his Serene Highness Prince Esterhazy, will take place at the NEW ARGYLL ROOMS, THIS EVENING—Leader, Mr. F. Cramer; Conductor, Mr. J. B. Cramer—Tickets, 10s. 6d each to be had of Mr. Moscheles, S43, Oxford-street; at the Royal Harmonic Institution; an at the principal Music Shops.


The Morning Post (July 6, 1821): 3.


We were truly happy to see Mr. MOSCHELES’ Concert on Wednesday evening so well attended; the whole of the performance went off with the greatest eclat. MOSCHELES executed a Grand Concerto on the Pianoforte, and an Air, with Variations, in the most masterly manner; but his great performance was a Fantasia Extempore, in which he introduced “My lodging is on the cold ground.” It is utterly impossible to describe the effect this produced on the company. The rapidity with which he played chromatic thirds and octaves, was quite wonderful; his fugues, his imitations, and his question and answers, were prodigiously fine; while his delicacy and expression were of the most finished description; the applause which he so richly deserved, and which was lavishly bestowed on him, he received with very becoming modesty. A short pause occurred, when it was Mr. BRAHAM’S turn to sing; an extra Song was given by Mr. BEGREZ. When Mr. BRAHAM entered, some slight marks of disapprobation were shewn, when he addressed the Company to the following effect:—“Ladies and Gentlemen, I am sorry that any disapprobation should be evinced, for I have but this instant finished my professional duties at Drury-Lane.”—A round of applause followed, and he sung in his usual effective style. We observed in the room the following Professors, who appeared highly delighted with the stranger’s great powers:—Messrs. C. and W. KNYVETT, NEATE, HORSLEY, KELLMANN, PARRY, SKERRINGTON, C. P. POTTER, BOCHSA, CRAMER, DANCE, LATOUR, and many others.

The Morning Chronicle (July 7, 1821): 3.

Among the many artists of high talent who have visited this musical Metropolis during the present season, M. MOSCHELES a composer and piano forte player, from Vienna, stands prominently forward. He arrived late, and was but little known till Wednesday last, when he gave a Concert at the Argyle Rooms, and performed several pieces of his hearers, from the select circle of really good critics, to the mob of those whose judge by no canon, and only pretend to know “what pleases them.” M. MOSCHELES is a union of some of the best players that we have ever heard; he has CLEMENTI’S science, CRAMER’S expression, and KALKBRENNER’S brilliancy. His execution is amazing, but this is a quality that ought to be only valued as a mean; the rope-dancer and the cripple, who without hands, fabricates watch-papers, vanquish difficulties, much more astonishing than any that the musician has to encounter. The merit of this performer consists in his making such a right application of his genius, and such a wise use of the mean acquired by his indefatigable industry, as shew him to be a man of taste and judgement. His Fantasia excited particular pleasure, in which were blended a deep knowledge of harmony, great power of invention, strong feeling, a delightful gaiety, and a facility that imparted to the whole a charm which produced some of the most genuine and enthusiastic plaudits that we have ever witnessed. His audience consisted of nearly all the connoisseurs and amateurs in town, and but one sentiment seemed to pervade every person present, which was perfectly in unison with that which we have now expressed.

Le Miroir des spectacles, des lettres, des mœurs et des arts (July 31, 1821): 3.

ARGYLE-ROOMS. Un brillant concert a été donné dans cette salle par M. Moscheles, dont le grand talent s’était fait remarquer à Paris, particulièrement au dernier concert philarmonique. De charmantes variations sur le thème français, au clair de la lune, lui ont valu les plus, vifs applaudissements (i), et ce virtuose a surpassé les Clémenti, les Cramer, et les Kalkbrener dans ses brillantes improvisations.

Allgemeine musikalische Zeitung (August 8, 1821): 548-553.

Concert des Herrn Moscheles in London, den

4ten July 1821.

London den 10ten July. Unter den vielen fremder Tonkünstlern, durch deren Talente dieser Sommer für die hiesigen zahlreichen Freunde der Kunst genussreicher, als vielleicht je einer seit Haydn’s Hierseyn geworden ist, gebühren den Herren Moscheles und Kiesewetter, zur Ehre Deutschlands, gewiss die ersten Stellen. Denn weder die berühmten Sänger und Sängerinnen,  welche von den neuen vortrefflichen Directoren der grossen italienischen Oper aus Italien verschrieben wurden, um diese ins Stocken gerathene Maschine wieder in Gang zu bringen, noch die Pariser Tulou und Dilon, jener als Virtuose auf der Flöte, dieser auf der Violine, können sich eines Empfanges rühmen, wie er diesen deutschen Künstlern zu Theil geworden. Von Hrn. Moscheles will diess um so mehr sagen, da er zu einer Zeit auftrat, wo ein grosser Theil des hiesigen Adels, des vorzüglichsten Beförderers schöner Künste, sich bereits aufs Land begeben hatte, und was sonst noch von Liebhabern zurückgeblieben, bereits von einer zahllosen Menge Concerte, welche unsere ersten Sänger und Spieler zu eigenem Vortheil gegeben, so übersättigt war, dass selbst seine Freunde an dem guten Ausgange seiner Sache zweifelten, und ihm wegen seiner verspäteten Ankunft Vorwürfe machten. Dazu kam noch, dass ihm kein ausgezeichneter Ruf vorangegangen war; denn die lauten Lobeserhebungen, die man von Paris und Amsterdam aus über seine Meisterschaft auf dem Pianoforte machte, waren nicht bis hieher er schollen, und eben so wenig war er als Tondichter durch seine Werke bekannt. So geht es aber den meisten ausländischen Virtuosen, und diess lediglich aus Mangel an einer guten musikalischen Zeitung, die uns aus unserer düstern Unwissenheit über auswärtige Kunst und Künstler zöge. Das Einzige, was wir von dieser Art haben, die Musical Review, ein mittelmässiges Machwerk, hat sich noch nie getraut, den einheimischen Boden zu verlassen; und unsere politischen Zeitungen, deren Zahl, wie bekannt, erstaunlich gross ist, nehmen Kunst betreffende Artikel nur im Nothfall auf, wenn es Lücken auszufüllen giebt. Wie ehrenvoll also für Hrn. Moscheles, wenn er sich, trotz aller dieser un günstigen Umstände, den beneidenswerthesten Beifall erwarb, einen Beifall, den er einzig seinem ausserordentlichen Künstlertalente zu verdanken hatte! Er kam gerade vor dem Schluss der philharmonischen Concerte in London an, und hatte nur eben Zeit, in dem letzten derselben seine Künstlergrösse zu verkündigen: welches ihm denn auch vollkommen gelang. Ein Künstler, dem es verstattet wird (und diess geschieht nur mit den ausgezeichnetsten), sich in diesen durch ganz Europa berühmten Concerten hören zu lassen, hat dadurch schon die allgemeine Stimme gewonnen. So kam es denn, dass Hr. M. zu dem Concerte, welches er hier den 4ten July in den New Argyle Rooms zu seinem Vortheil gab, ein gedrängt volles Haus fand. Von diesem Concerte und den Stücken, die darin vorkamen, will ich jetzt einen kurzen Bericht abstatten.

Erster Theil.

1. Ouverture zu Clemenza di Tito. Mozart, Beethoven, Haydn, und allenfalls die Romberge, Cherubini, Ries und Winter haben hier aus schliesslich die Ehre, ein Concert zu beginnen und zu beschliessen: entweder mit einer Sinfonie oder mit einer Ouverture. In dem acht diess jährigen Philharmonischen Concerten galt es insbesondere Mozart und Beethoven, und sowohl hieraus als aus andern Anzeigen will man schlies In den acht diessen, dass der ehrwürdige Haydn hier nicht mehr wie sonst an der Seite dieser Heroen wandelt. Das Orchester war gut besetzt, und da es mit geringer Ausnahme beynahe aus denselben Spielern bestand, wie das in den Philharmonischen Concerten, so wurde sowohl diese Ouverture, als die übrigen vollstimmigen Stücke, vortrefflich gegeben. Die Gesangpartieen wurden von dem würdigen J. B. Cramer dirigirt, welcher sich überhaupt des Hrn. M. hier väterlich angenommen hat.

2. Arie: Parto ma tu ben mio, von Mozart, von Mad. Camporese gesungen. Diese herrliche Sängerin ist die prima donna bey der Italienischen Oper. Hat sie gleich nicht die Stimme der Catalani, so ist sie ihr jedoch in gründlicher Kenntmiss der Tonkunst überlegen, und hat dabey den gebildetesten Geschmack.

5. Grosses Concert (Manuscript) fürs Pianoforte, vom Concertgeber. Das erste Stück in Es dur hat das einfache Thema

zum Grunde, und ist von einem sehr heroischen Charakter. Im Mittelsatze sind die Blaseinstrumente sehr obligat, und beschäftigen sich abwechselnd mit dem Thema, während beyde Hände in höchst schwierig figurirden Sätzen sich zeigen. Im dritten Solo sind die Doppelgriffe wegen des schönen Contrastes von herrlicher Wirkung, zumal wenn sie rein und deutlich ausgeführt werden, wie es hier geschah. Der Schluss wird ganz in Beziehung auf den Hauptgedanken herbeygeführt. Das Adagio in B dur, 68 Takt, enthält schöne, überaus empfindungsvolle Stellen, und giebt auch Gelegenheit zu Bravouren, besonders in Trillern in den Mittelstimmen. Das letzte Stück hätte  zwar eigentlich in demselben Tone als das erste  seyn sollen, es waren aber Umstände vorhanden, die Hrn. M. veranlassten, den Schluss mit dem letzten Satz aus einem andern Concerte in F. dur (auch von ihm) zu machen. Hieran that er sehr wohl; denn dieser Satz ist in einem leichter fasslichen Style geschrieben, und erhöhte durch sein scherzhaftes Thema bey jedesmaliger Wiederholung ungemein die heitere Stimmung der Zuhörer. Ueber den glänzenden Beifall, den sich Hr. M. nicht nur mit jedem Solo, sondern auch durch die Güte des Werks selbst erwarb, weiter unten.

4. Terzett: Ditanti palpiti, von Mad. Und Demlles. Ashe gesungen. Wenn eine Arie hier einmal Wurzel geschlagen hat, so findet man sie wie Unkraut auf jeder Strasse. So geht es uns hier mit dieser Arie von Rossini—wir hören sie immer und überall.

5. Scene und Arie von Rossini, gesungen von Mad. Salmon. Diese herrliche Sängerin ist die Camporese, die prima donna des Englischen Gesanges: von ihr bey einer andern Gelegenheit.

6. Fantasie auf der Violine von Hrn. Libon aus Paris. Viel französische Leichtigkeit ohne alle Tiefe in der Anlage mit einem niedlichen, zierlichen Vortrage. Im Ganzen war sein Spiel so, dass unserm Kiesewetter nicht bange warden durfte.

7. Arie, von Mlle. Corri recht brav gesungen,

8. Glee, von den Herren Vaughan, Knyvett und Sale. In den Glees und Catches haben die Engländer ihre Stärke;—das Ding gefiel wegen seines Abstichs gegen die andern Stücke.

Zweyter Theil.

1. Adagio und Variationen vom Concertgeber, über das bekannte: Au clair de la lune: diess ist des Verf. neuestes Werk, und in Paris geschrieben. In einem singenden Adagio bereitet er durch leise Züge das Thema vor, welches dann scherzhaft mit Contrabässen pizzicato begleitet eintritt. Unter den Variationen, die sämmtlich höchst originell und brillant sind, verdient diejenige vorzüglich erwähnt zu werden, in welcher die linke Hand das Thema führt, während die rechte hüpfend in gebrochenen Akkorden höchst überraschende Modulationen herbeyführt. Nach einer überaus gesangreichen Va-Variation [sic] tritt die Octaven-Variation im geschwindesten Zeitmaass: mit dem erstaunlichsten Effekt ein. Das Finale beginnt mit einem Fugensatze, welches die ersten vier Takte des Themas zum Grunde hat; nach den gewöhnlichen Eintritten und einigen „Engführungen“ verlässt er den strengen Styl, um sich frey und ungebunden in ungemein brillanten und abwechselnden Bravouren für beyde Hände zeigen zu können, und den Schluss dankbar zu machen.

2. Duett: Amor possente nume, von Rossini; Mlle. Mori und Hr. Begrez. Ein schönes Stück, meisterhaft ausgeführt.

3. Scene und Arie von Beethoven. Hr. Braham. Dieser Götze des Englischen Publikums sang diessmal höchst erbärmlich.

4. Fantasie, extemporirt auf dem Pianoforte vom Concertgeber. Diess Stück war vom Anfang bis zu Ende Improvisation. Nach einigen Preambelu führte er das Irländische Lied „my Lodging is on the cold ground“ herbey, und bearbeitete es dann als Thema einer Fantasie, nicht nur im Variationen Styl, sondern in den möglichst verschiedenen Arten contrapunktischer Ausfuhrung.

5. Die Ouverture zu Prometheus, von Beethoven, machte den Schluss.

Ueber Hrn. M. als Componist hier viel zusagen, wäre unnütz, da man ihn längst im ganzen gebildeten Europa als einen vorzüglichen und sehr originellen Tondichter kennt; es sey also nur erwähnt, dass man auch hier seinen Compositionen volle Gerechtigkeit widerfahren liess. Aber wie soll ich den Beifall beschreiben, mit dem hier sein unvergleichliches Spiel gekrönt wurde! So etwas kann stolz machen, und gewiss wurden Hrn. Moscheles kühnste Erwartungen übertroffen. Besonders war es seine freye Fantasie, die Krone und Vollendung seines Spiels, welche die Zuhörer dergestalt entzückte und hinriss, dass sie ihm nicht Zeit liessen, die einzelnen Solostellen zu beendigen. Nach Hrn. Moscheles Aeusserung trug diese Unterbrechung nicht wenig zu seiner Begeisterung bey. Wohl mag er es Begeisterung nennen! Es war vom Anfang bis zu Ende ein unaufhaltsamer Strom von Ideen, der alles mit sich fortriss. Wenn etwas so ausserordentliches geschieht, dann bleiben wir hier nicht mehr in den Schranken des gewöhnlichen Beifallklatschens.

Beym Schlusse dieser Fantasie erhob sich alles wie mit einem Schlage von seinen Sitzen, und was nur Hände, Füsse und Stimme hatte, klatschte, polterte und rief bravissimo, dass einem Hören und Sehen verging. Genug, man erklärte Hrn. M. einmütig für den grössten Pianofortespieler, den man je in London gehört hatte. Ein Beurtheiler im Morning chronicle sagt: „he unites Clementi’s science, Cramer’s elegance and expression and Kalkbrenner’s brilliancy.“ Ja, man stellte ihn noch höher und neben Hummel, dem Unvergleichlichen und Field in Petersburg. Nach einem solchen Empfange ist es nicht zu verwundern, dass Hr. M. dem Zureden seiner zahl reichen Bewunderer Gehör giebt und sich, wie ich von ihm selbst höre, in London auf einige Zeit fixiren wird.

J. R. S. . .tz.

The London Magazine, vol. IV (August 1821): 203-204.

To break our vast descent to minuter [sic] objects, we shall next take the Concert of Mr. Mocheles [sic], given on Wednesday, July 4. We spoke of this professor in our last; but we scarcely did justice to his very, very superior attainments, of which language can convey but indistinct ideas. His command of his instrument (the piano-forte) is really prodigious; and his rapidity, precision, elasticity, neatness and delicacy of touch, his certainty in striking distant intervals, both at top and bottom of the compass, his thumb acting like a fulcrum to his hand, can not be surpassed. In the intellectual parts of his performance he is not less gifted; for while his fancy is richly endowed, his taste is pure and refined. To complete his character, he is mild and unassuming; and his merit seems to be exceeded only by his modesty. The concert exhibited great variety; and presents a very honourable testimony to the homage which the English and foreign professors have alike paid to this gentleman’s extraordinary talent, while the distribution and the disposition of the parts are equally creditable to his own judgment.

Allgemeine musikalische Zeitung (August 22, 1821): 580.

[London, im August] Der zweyte, Hr. Moscheles, erschien hier zum erstenmale öffentlich im letzten der philharmonischen Concerte, und spielte ein Concert von seiner Composition, mit einem letzten Satze, der schon gedruckt ist, welches ungemeinen Beyfall erhielt. In seinem eigenen Concerte, welches von einer zahlreichen und angesehenen Versammlung besucht wurde, spielte er dreymal, nemlich: das erwähnte vorige Concert, mit einem andern Finalsatze; eine Arie mit Variationen, begleitet vom Orchester; und eine soge nannte freye Fantasie. Auch diessmal ward ihm ein höchst schmeichelhafter Beifall

Allgemeine musikalische Zeitung mit besonderer Rücksicht auf den österreichischen Kaiserstaat (September 8, 1821): 573-574.

[London, in Monath July]

Unter die Neuigkeiten gehört die Ankunft des Herrn Moscheles, von Wien. Er ist ein Fortepianospieler, dem sein Ruf vorausgegangen war. Er spielte in dem letzten philarmonischen Concerte, und seine Kunst übertraf unsere Erwartungen.

Er verbindet Ausdruck und Fertigkeit in der Execution in einem ausserordentlichen Grade, und da er viel Neues in dem letztern Zweige seiner Kunst eingeführt hat (while he has introduced much novelty in the latter branch of his art) so hat sein Styl sowohl das Gefühl als auch das Urtheil der strengsten Kritiker befriedigt.

Das Concert selbst ward ebenfalls sehr geschätzt, und die vorzüglichsten Professoren erklärten, dass sein Spiel etwas ganz Ungewöhnliches sey.

Wir geben unsern Lesern der Seltenheit wegem einen Abdruck seines Concert-Zettels mit. Es wird interessant seyn zu erfahren, theils wie viel das englische Publicum—for his mony—verlangt, und welche Tonsetzer dort an der Tagsordnung sind. Zuerst den Zettel in der Ursprache:




(From Vienna)

Has the honour to announce, that his

C O N C E R T,



Prince Esterhazy,


At the above Rooms,

On Wednesday, July 4, 1821.



Overture  .  (La Clemenza di Tito.)      .   Mozart.
Aria, Madame CAMPORESE, „Parto
     mio bene.”    .    .    .    .    .    .    .    .Mozart.
Grand Concerto, (MS.) Piano Forte,
     Mr. MOSCHELES      .    .    .    .    .Moscheles.
Terzetto, Mrs. and the Misses ASHE.  .Benincori.
Scena ed Aria, Mrs. SALMON.  .    .   .Rossini.
Fantasia, Violin, Mr. LIBON, Member
     of his Catholic Majesty’s Chapel
     Royal, Paris   .    .    .    .    .    .    .    .Libon.
Aria, Miss CORRI, „Dove sono.”    .    .Mozart.
Glee, Messrs. VAUGHAN, W. KNY-
     VETT, and J. B. SALE, “When
     Sapho tun’d”        .    .    .    .    .    .    .Danby.


Adagio and New Variations for the Piano
     Forte, with Orchestral accompa-
     niments, Mr. MOSCHELES         .    .Moscheles.
Duetto, Miss CORRI and Mr. BEGREZ,
      „Amor possente nome.”          .    .    .Rossini.
Fantasia, Flute, Mr. TULOU    .    .    .    .Tulou.
Scena ed Aria, Mr. BRAHAM  .    .    .    .Beethoven.
Fantasia, extempore, (by desire,) Piano
      Forte, Mr. MOSCHELES.
Overture.  .  .  .  (Prometheus.)             .    .Beethoven.
Leader of the Band, (which
Will be complete),   .   .   Mr. F. CRAMER.
Conductor    .   .   .   .   .   Mr. J. B. CRAMER.


The Concert to commence at Eight o’Clock.



Man sieht hieraus, dass in London die Concertgeber sich beyihrem Unternehmen einen Schutzpatron wählen, den Herr Moscheles in der Person des Herrn Fürsten Esterhazy gefunden hat. Das Concert fand Mittwochs den 4. July Statt.

Die Anzahl der Musikstücke wäre gerade genug, um in Wien zwey recht ordentliche Akademien auszufüllen.

Als „principal instrumental performers,” d. h., als vorzügliche Virtuosen, die im Orchester mit wirken, sind genammt die HH. Mori, Lindley, Dragonetti, Asche, Moralt.

Als Orchester-Director und Director des Ganzen sind die HH. F. Cramer und J. B. Cramer genannt. Der Anfang war Abends um 8 Uhr. Der Eintritt einen Ducaten.

15 June 1821

[Ball] at the [Austrian] Embassy

London: [Austrian] Embassy

Philipp von Neumann: In the midst of some fatiguing weeks of “balls without end,” Neumann is delighted on the 15th to hear “a great artist on the piano, Moscheles, play at the Embassy, who astonished us not only by his extraordinary talent but by his exquisite taste and the novelty of his style of execution.

[Phillip von Neumann, The Diary of Philipp von Neumann, 1819 to 1850, trans. Chancellor Edwin Beresford, vol. 1, 2 vols (London: P. Allan & Company Limited, 1928), 62-63.]


11 June 1821

Eighth Philharmonic Society Concert

London: New Argyll Rooms—Time: Evening, Eight o’Clock

Subscription Concert: 4 Guineas



Part I  
Symphony No.4 in F major F. Ries
From Gli Orazi e Curiazi: Trio, ‘O dolce e caro istante’Miss F. Corri[1], Miss Stephens, Mr. BegrezCimarosa
Piano Concerto No.2 in E flat major (MS)  Mr. Moscheles  
(first performance in the country)
From Le nozze di Figaro: Aria, ‘Voi che sapete’Miss StephensMozart
Overture in D major B. Romberg
Part II  
Symphony in C major Haydn
Scene, ‘Son Regina’Miss CorriPortugal
Violin ConcertoMr. KiesewetterPollard
From La clemenza di Tito: Duet, ‘Come ti piace imponi’Miss Corri, Mr. BegrezMozart
Overture, Die Geschöpfe des Prometheus Beethoven
Principal Vocalists: Miss F. Corri, Miss Stephens; Mr. Begrez  
Principal Instrumentalists: Messrs. Kiesewetter, Moscheles
Leader: Mr. Nicolas Mori; Conductor: Mr. Ferdinand Ries

[1] The programme by the Philharmonic society refers to Signora Corri, and the review by The Morning Post on April 18 to Miss Corri. The singer was probably Miss France Corri, who was also referred to as Signora Corri.


Programme Notes: Moscheles played for the first time a concerto from his manuscripts. However, he replaced the final movement of the concerto with his Alexander Variations in F major, Op.32.

Salary: £21 for one rehearsal and one performance. [GB-Lbl RPS MS 299, f9 v.]

Moscheles: Wichtiger Tag. Erstes Auftreten im letzten Philharmonischen Concert und mit vielem Glück. Ich spielte mein Es-dur-Concert und die Alexander-Variationen. Dieses Stück bekam wegen der Aehnlichkeit des Thema’s mit der Marseillaise von den Engländern den Beinamen the Fall of Paris, ein Umstand der mir später in Paris unangenehme Auslegungen von den Blättern zuzog Im 2. Theil spielte Kiesewetter mit grossem Beifall. [AML I, 59-60.]

George Hogarth: The season of 1821 was distinguished by the first appearances of the celebrated violinist Kiesewetter; of Tolou, then esteemed the most marvellous flute-player in Europe; and of a still more important person than either, “Mr. Moscheles of Vienna,” who performed a manuscript concerto of his own at the eighth concert on the 11th of June. No first appearance of an instrumental performer ever created a greater sensation than this. Moscheles at that time was the greatest bravura performer that had ever been heard.  His powers of execution excited as much surprise as those of Thalberg did at a later period; which his music, calculated for the fullest display of those powers, possessed a vigorous invention, and the solid and masterly style derived from the profoundest study of his art. This appearance at a Philharmonic Concert was the commencement of a brilliant career of a quarter of century, passed wholly in England, and terminated by his acceptance, in 1846, of a position combining hour with comparative ease, a Professor’s chair in the Conservatoire of Leipzig, which he still holds [1862], to the great advantage of that distinguished school of music.

[George Hogarth, The Philharmonic Society of London: From Its Foundation, 1813, to Its Fiftieth Year, 1862. (London: Bradbury&Evans; Addison, Hollier &Lucas, 1862), 27-28.]


Philharmonic Society Programme


His Majesty.






Sinfonia in F.                            –                   –                  –                 –    Ries.
Terzetto, “O dolce e caro istante,” Signora CORRI, Miss 
    STEPHENS, and Mr. BEGREZ (Gli Orazzi e Curiazzi)               –Cimarosa.
Concerto, MS. Piano-forte—Mr. MOSCHELES, of VIENNA, 
   (his first performance in this country)                          –                –  Moscheles.
Aria, Miss STEPHENS, “Voi che sapete”(Nozze di Figaro)Mozart.
Overture in D.                           –                   –                  –                 –    B. Romberg.


Sinfonia in C.                            –                   –                  –                 –    Haydn.
Scena, Signora CORRI, “Son Regina”                            –                 –              Portogallo.
Concerto Violin, Mr. KEISEWETTER             –              –                 –              Polledro.
Duetto, “Come ti piace,” Signora CORI and Mr. BEGREZ, 
   (Clemenza di Tito)                      –                             –                      –Mozart.
Overture, Prometheus                –                  –                   –                  –                 –Beethoven.


Leader, Mr. MORI.—Conductor, Mr. RIES.


To commence at Eight o’Clock precisely.

The subscribers are most earnestly entreated to observe, that the Tickers are not transferable, and that any violation of this rule will incur a total forfeiture of the subscription.

It is requested that the Coachmen may be directed to set down and take up with their horses’ heads towards Piccadilly.

The door in Little Argyll-street will be open after the Concert for the egress of the Company.


The Morning Post (June 18, 1821): 3.


The Concerts of this Society closed on Monday last, with an eclat that promises to sustain the high character, which, from an early period of their establishment, they have possessed throughout Europe.

KIESEWETTER performed as usual, and drew down universal applause; the Overtures and Symphonies were given in the most finished manner, under the able direction of Mr. MORI. The great star of the evening was Mr. MOSCHELLES, a pianoforte player, from Vienna. This Gentleman’s fame had previously reached this country, and the expectation of something extraordinary, so often, and so cruelly fatal to the reception of even great talent, had risen to an unprecedented height. It is, however, not too much to say of this truly great performer, that he not only reached this perilous height of expectation, but soared far above it. He left his astonished listener in a state of marvel at powers which, to be accredited, require to be witnessed.

We were truly happy to behold the candour and liberality with which this Gentleman’s high eminence was hailed by those distinguished performers on the piano-forte, whom the musical world has been accustomed to regard, and will still regard, as shining ornaments of their profession. Mr. MOSCHELLES was at the Anniversary Dinner of the Royal Society of Musicians, on the 9th instant, as a guest of Mr. J. B. CRAMER. The principal Vocal of the evening were Miss STEPHENS, Miss CORRI and Mr. BEGREZ, and the acquitted themselves with their wonted abilities. BEETHOVEN’S spirited Overture to the Men of Prometheus, was the finale to one of the finest Instrumental Concerts that was ever performed.

The Quarterly Musical Magazine and Review, vol. III (June 1821): 388-391.

THE PHILHARMONIC SOCIETY has this season flourished with extraordinary vigour and the resident members have been supported by the accession of the richest examples of foreign talent, in the persons of MR. KIESEWETTER, the violinist MR. MOSCHELES, a player on the piano forte and M. TULOU a flute player-professors who have earned the highest possible reputation abroad. Our former pages will spare us the necessity of enlarging upon the qualifications of the former gentleman: they will be found to be described in the conjoint memoir of MESSRS. MORI, SPOHR, and KIESEWETTER. Of MR. MOSCHELES it imports the art that we should speak as much at length as possible, for he is, without question, equal in all, and superior in most points, to all his predecessors.

MR. M is about twenty-nine years of age, with a countenance singular, but expressive, and distinguished by strong sensibility and intelligence. Some of his compositions had been known in England, and had prepared the critical class of musicians at least, (together with his fame) for his reception, which, both privately amongst the eminent of the profession, and publicly when he entered the orchestra of the Philharmonic on the last night of the season, was marked, with the most decided tokens of respect, distinction, and applause—the most expressive of which perhaps was the silence, unbroken even by a breath, that waited upon his performance. He played a concerto of his own composition, in E flat; the subject was singular being introduced by three drums; afterwards strengthened by the basses, and then taken up by the whole orchestra. Some agreeable passages, ably constructed for effect, are next introduced, that naturally conduct to the first solo, which is contrived with such ingenuity as to enable the player to display all the great qualifications which constitute a finished performer of the first class. In the second solo, after treating the subject very gracefully, he introduces an episode by way of contrast, which is not only extremely beautiful in itself, but replete with passages calculated to demonstrate his wonderful powers of execution to the highest advantage.

The audience seized every opportunity during this performance of manifesting the delight they felt by repeated Bravos! and by every means which could convey the distinguished approbation to which they felt MR. MOSCHELES to be so justly entitled.

The adagio was in B♭, in 68 time, and written in a style corresponding well with the character of the first movement. The solo was fancifully, graceful, and gave ample scope for the author’s display of all the difficulties and beauties of the shake, and the rapid and distinct execution of octaves. Passages of singular construction, for both hands, which kept the thumb and forefinger of each employed in the shake, whilst the other fingers are busily occupied in accompaniments, had a very striking and unusual effect. In the legato passages he also shewed great mastery over the instrument, and the progress of the performance still went on augmenting the applause of the audience.

Instead of the rondo originally written for the concerto, MR. M. substituted an air with variations, which is published, and which we have seen. The theme is well known on the Continent by the name of The Emperor Alexander’s favourite March, but it so nearly resembles the one known here by the name of “The Fall of Paris,” that it may be considered as the same. As these variations have already been frequently played by MR. MOSCHELES at concerts on the Continent, they have obtained a good deal of celebrity, but their difficulties are so great, that they are not very likely to make their way much into private society. The march is in the key of F: the first variation gives the performer full opportunity of exhibiting his skill in the execution of triplets: the second is a sort of scherzando, with an accompaniment of wind instruments, which has an original and pleasing effect. In the third, the difficulties of execution are divided alternately between the right and left hand, and the effect produced by the right hand on the theme, whilst the left is running a rapid passage of semitones, is very striking. The fourth variation is a bravura, and more difficult than any of the others. A passage of double triplets, in very rapid movement, is kept up by the right hand, whilst the left is occupied with the theme; but during this the hands are constantly crossing each other in so curious a manner that it is extremely difficult to distinguish which hand is employed above and which below. The fifth variation is intended to shew legerity of finger; the subject being heard by distinct touches in the midst of a rapid succession of notes. The sixth variation is an adagio, in the minor key, with an accompaniment of wind instruments, and displays the power of the performer in the legato style very advantageously; the passages of tenths shew that the physical construction of MR. MOSCHELES’S hand is such as to render ordinary difficulties mere amusements to him.

The finale, which is not numbered as a variation, is an allegro of great spirit and effect. The theme is carried on with both hands by skips of great distance and hazard, but which the performer strikes with the same certainty as if they lay within the natural grasp of the hand. The author then works on with increasing vigour to the conclusion, which he arrives at with the utmost brilliancy and effect.

We have enlarged upon the nature of the composition in order to convey more adequately an idea of MR. MOSCHELES’S powers of execution, of which we cannot speak too much or too highly. The public fully estimated his extraordinary talent, for a more spontaneous or more liberal tribute of applause we never recollect to have seen bestowed upon any public performer than MR. M. received.

MR. MOSCHELES’S command of the instrument is truly astonishing, whether considered in relation to force, delicacy, or rapidity. As CATALANI in vocal art, bursts through all the fetters commonly imposed, so MR. M. appears to disdain (because he is thoroughly acquainted with) technical rules. His wrist, his hand, and the joints of his fingers, exhibit a variety of position and a pliability truly wonderful; yet so nicely does he controul [sic] his touch, that when from the elevation of his hand the spectator might expect its descent in thunder, as it were, the ear is never shocked by the slightest harshness : there is too a spring and elasticity in his fingers, when applied to quick arpeggio passages, that bring out the most brilliant tone, while in those touching movements that constitute generally what is termed expression,* his manner is not less affecting. But the most extra ordinary part of MR. M.’s playing is perhaps the velocity and the certainty with which he passes from one distant interval to another. His thumbs seem to act as intermediate points from which his fingers arc directed almost to the most remote parts of the instrument, over which they fly with a rapidity wholly inconceivable; yet the uniformity of touch and tone are so strictly preserved, that an imperfect is never and an unfinished note seldom heard. Every great player has his forte; and in this species of execution MR. MOSCHELES is unrivalled. We think, too, that in genuine force he has never been equalled. Concerning his expression, MR. J. CRAMER, we are told, publicly paid him the highest compliments; yet we know persons of great judgment who estimate his powers in this branch of art at a lower rate. But we are disposed to think this arises rather from the great superiority of his other claims to pre-eminence, from a comparison of the one part with the other, than from any positive falling off. In such a man the very grandeur of one faculty is sometimes the cause of the disparagement of another. As a whole, however, MR. MOSCHELES is universally allowed the supremacy, and it is also as universally admitted, that his talents are accompanied by a most engaging modesty.

Wiener Zeitschrift für Kunst, Literatur, Theater und Mode (June 1, 1822): 533-535.

[German translation of the article from The Quarterly Musical Magazine and Review on June 1821]

Oesterreichisch-Kaiserliche pirivilegirte Wiener Zeitung (July 3, 1821): 597.

Die philharmonische Gesellschaft zu London hatte, wie die dortigen Blätter melden, am 11. Junius Abends in ihrem  Concerte das Vergnügen, die Talente eines Deutschen Künstlers, Hrn. Moscheles aus Wien, zu bewundern, der sich auf  dem Pianoforte hören ließ. Alle Kenner und Musikfreunde stimmen darin überein, daß er mit einer solchen Fertigkeit und mit einem solchen Ausdrucke spielt, die ihres Gleichen suchen Man zollte ihm einen rauschenden und ungetheilten Beyfall.  Er spielte unter Ändern ein Concert von seiner eigenen Composition, Und der Vortrag sowohl als die Originalität seines Geschmackes verriethen den Meister in seiner Kunst. Es ist im Voraus zu bestimmen, daß Hr. Moscheles den hiesigen Musikalischen Vereinen eine freudige Erscheinung seyn, und bey selben ein ehrenvolles Andenken hinterlassen wird.

Brünner Politische Zeitung (July 6, 1821): 764.

Die Londoner philharmonische Gesellschaft hatte am 11. June Abends in ihrem Koncerte das Vergnügen, die Talente eines deutschen Künstlers, Hrn. Moscheles aus Wien zu bemundern, der sich auf dem Fortepiano hören ließ. Alle Kenner und Musikfreunde (sagt ein Londoner Blatt) stimmen darin überein, daß er mit einer selchen Fertigkeit und mit selchem Ausdrucke spielt, die ihres Gleichen suchen. Mon zellte ihm einen rauschenden und ungetheilten Beyfall. Er spielte unter andern ein Koncert von seiner eigenen Komposition, und der Vortrag sowohl, als die Originalität seines Geschmacks, verriethen den Meister in seiner Kunst. Es ist nicht zu bezweifeln, daß Hr. Moscheles von den blesigen musikalischen Vereinen für eine freudige Eischeinung ancikannt, und bey selben ein ehrenvolles Andeuten hinterlassen werde. (Beob.)

The London Magazine, vol. IV (July 1821): 91.

The novelty of the season has however been crowned by the of M. Moschelles from Vienna. M. Moschelles is a piano-forte player and his reputation had preceded him. He played at the last Philharmonic Concert, and his performance greatly exceeded even the most sanguine expectations. He combines expression and execution in a very extraordinary degree, and while he has introduced much novelty in the latter branch of his art, his style has perfectly satisfied the feeling and the judgement of the soundest critics. The concerto itself was also highly esteemed; and professors of the best taste declare, they consider M. Moschelles’ playing “a prodigious performance” in every respect. M. Moschelles is about thirty, and is an exceedingly modest and sensible man.

Allgemeine musikalische Zeitung mit besonderer Rücksicht auf den österreichischen Kaiserstaat (September 8, 1821): 573.

London, in Monath July.


Unter die Neuigkeiten gehört die Ankunft des Herrn Moscheles, von Wien. Er ist ein Fortepiano spieler, dem sein Ruf vorausgegangen war. Er spielte in dem letzten philarmonischen Concerte, und seine Kunst übertraf unsere Erwartungen.

Er verbindet Ausdruck und Fertigkeit in der Execution in einem ausserordentlichen Grade, und da er viel Neues in dem letztern Zweige seiner Kunst eingeführt hat (while he has introduced much novely in the latter branch of his art) so hat sein Styl sowohl das Gefühl als auch das Urtheil der strengsten Kritiker befriedigt.

Das Concert selbst ward ebenfalls sehr geschätzt, und die vorzüglichsten Professoren er klärten, dass sein Spiel etwas ganz Ungewöhnliches sey.

Euterpeiad: or, Musical intelligencer & Ladies’ Gazette, vol. II (September 29, 1821).

The Philharmonic Society,

Is composed of the first performers of the age, who agree to lay aside all party feelings, to co-operate for the promotion and improvement of the art. This concert is for the exclusive study of instrumental music and is the only band in Europe where effect can be given to the Sinfonies of Haydn, Mozart and Beethoven. The simultaneous effects of forty masters upon the stringed instruments, performing with an identity of taste and expression, is truly astonishing. The force of this combination is ten times that of a common band of equal numbers and the sudden transitions from loud to soft, are as striking upon the ear as the effects of lightning in a dark night upon the eye. But we must hear the performance of Beethoven’s pastoral symphony before we can appreciate the talents of this extraordinary orchestra. This piece exhibits by the power of sounds alone, a picture of the events of a summer day, the sun-rise, the freshness of the morning, the singing of the birds, the buzz of insects, the storm, the calm, the rustic song and dance, and the close of the evening. As it is the first object of this society to exhibit the art and not the performers, no solos are admitted; hut the finest talents are displayed in the most elaborate and scientific compositions.

Mascheles [sic], a German, made his first appearance this season. This performer by the peculiarity of his touch, gives to the piano forte a new language and character, and impresses us with an idea that the powers of instrument are but just developing, and like the harp of Terpander, there still lie in it hidden treasures. The velocity of his execution is more striking than brilliant, as he elicits a new series of effects. Those Arpeggio passages which are common to the instrument, he weaves in a new and beautiful texture, seldom resorting to the ordinary routine of modulation, hut enchants, like Mozart, with the simplicity of nature. But it is the sublime that he excels, “In his left hand lieth [sic] the thunder, and the lightning in his right;” at a blow he will strike the scale of sounds into a thousand pieces, and re-collect them in showers of harmony. This wonderful performer is a young man and a pupil of Beethoven, and his appearance in the waining [sic] light of his master may prove a fortunate thing for the musical world.

The Quarterly Musical Magazine and Review, vol. III (1821): 510.

Few players ever made so strong an impression at once, as MR. MOSCHELES at the Philharmonic Concert last season. So decided indeed was his performance, that the profession assented by acclamation to his extraordinary merit. He arrived so late in the season that he can be yet said to have been but little heard by the English public, whatever may be known of his excellence in the more contracted private circles where he played. At the Philharmonic he naturally selected such a composition as might enable him to bring into view as many of the highest qualities of a finished artist as possible. Neither had his own works been much circulated in this country. From these circumstances it would necessarily happen that his peculiar style—the transcript of his mind and the reflection of his powers— might yet be said to be only partially observed and known. The musical world will therefore turn their regard with more than ordinary curiosity towards the writings of so eminent a performer, in order to discover and appreciate the particular bent and elevation of his genius.

9 June 1821

Royal Society of Musicians Anniversary Dinner

London: [New Argyll Rooms]



[Free Piano Fantasia]Mr. Moscheles 
Principal Instrumentalists: Mr. Moscheles


Programme Notes: The reviewer does not mention if Moscheles performed. It is most likely though that he extemporised.


The Morning Post (June 18, 1821): 3.

…Mr. MOSCHELLES was at the Anniversary Dinner of the Royal Society of Musicians, on the 9th instant, as a guest of Mr. J. B. CRAMER.