4 July 1822

Charles Phillipe Lafont’s Benefit Concert

London: King’s Theatre

Time: Evening

Boxes: 3 Guineas

 Programme

Part I    
Act I of Don Giovanni Mozart
Part II    
Overture Cherubini  
Violin ConcertoM. LafontLafont
AriaMlle CintiPuccini
Piano FantasiaMr. MoschelesMoscheles
From Armida: DuetMlle Cinti, Mr. BegrezRossini
Airs Suisses VariesM. LafontLafont
Ballet, Le Petit Chaperon rougeAll principal performers of Kings’ TheatreM. Anatole & F. Venna
Ballet, Pas de Deux with a
Polonaise Violin Accompaniment  
Mlle Noblet, M. Paul; 
Violin: M. Lafont
 
Principal Vocalists: MlleCinti; Mr. Begrez andall the principal performers of Kings’ Theatre  
Principal Instrumentalists:  M. Lafont, Mr. Moscheles
Dancers: Mlle Noblet, M. Paul        

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Charlotte: Moscheles gladly joined Lafont (whom he shortly afterwards met at Boulogne), in giving three brilliant concerts, and afterwards went to Paris, in order during the quiet time in autumn to devote all his leisure hours and strength to study and composition. In winter these labours were continued, and many concerts given. [RMM, 47.]

Advertisements

The Morning Chronicle (June 20, 1822): 1.

KING’S THEATRE. —Monsieur LAFONT Premier Violon de sa Majeste le Roi de France, respectfully begs leave to announce to the Nobility, Gentry, Subscribers to the Opera, and the Public, that honoured with the Patronage of his Grace the Duke of Devonshire, her Serene Highness, the Prince Esterhazy, the Marchioness of Salisbury, the Excellency Countess Lieven, the Countess of Jersey, the Countess Cowper Viscountess Ossulston, the Countess of St. Antonio Lady Fitzroy Somerset, and Lady Vane Stewart, he will take a BENEFIT at this Theatre, on Thursday, July 4, when will be presented the Second\ Act of Rossini’s celebrated Opera of PIETRO L’EREMITA will be followed by one Act of a VOCAL and INSTRUMENTAL CONCERT, wherein Monsieur Lafont will perform a Concerto on the Violin, and some “Airs Varies Suisses.”—The Vocal Department will be filled by the principal Performers of the King’s Theatre.—End of the Opera. THE FAVOURITE BALLET, in the course of which will be introduced, for the last time, the much admired new Chaperon Rouge PAS DE DEUX, by Madamoiselle Noblet and Monsieur Paul, with a Polonaise Violin Accompaniment, by Monsieur Lafont.—Monsieur Lafont, at the suggestion of his Friends, will, on this occasion, return to the former custom of placing the Boxes at Three Guineas each, which may be had of Mons. Lafont, 10, Duke-street, Portland-place; of Messrs. Clementi’s, Cheapside: and of Mr. Ebers. Bookseller to his Majesty, 27, Old Bond-street.

The Morning Post, (June 24, 1822): 1.

KING’S THEATRE.—Monsieur LAFONT, (Premier Violon de sa Majeste le Roi de France,) respectfully begs leave to announce to the Nobility, Gentry, Subscribers to the Opera, and the Public, that he will take a BENEFIT at this Theatre on THURSDAY, the 4th of July, when will be presented One Act of a Favourite Opera. To be followed by one Act of a VOCAL and INSTRUMENTAL CONCERT, wherein Monsieur Lafont will perform a Concerto on the Violin, and some “Airs Varies Suisses.”—The Vocal Department will be filled by the principal Performers of the King’s Theatre. End of the Opera, the favourite Ballet of LE PETIT, in the course of which will be introduced, for the last time, the much admired new Chaperon Rouge PAS DE DEUX, by Madamoiselle Noblet and Mons. Paul, with “a Polonoise” [sic] Violin Accompaniment, by Mons. Lafont. Monsieur Lafont, at the suggestion of his friends, will, on this occasion, return to the former custom of placing the Boxes at Three Guineas each, which may be had of Mons. Lafont, 10, Duke-street, Portland-place; of Messrs. Clementi’s, Cheapside: and of Mr. Ebers. Bookseller to his Majesty, 27, Old Bond-street.

The Morning Chronicle (June 29, 1822): 1.

KING’S THEATRE.

Monsieur LAFONT. Premier Violon de sa Majeste le Roi de France, respectfully begs leave to announce to the Nobility, Gentry, Subscribers to the Opera, and the Public, that he will take a BENEFIT at this Theatre on Thursday next, when will be presented, the First Act of the celebrated Opera of DON GIOVANNI. Music by Mozart—To be followed by One Act of a VOCAL and INSTRUMENTAL CONCERT. Overture; Cherubini—Concerto, Violin, Monsieur Lafont; Lafont—Aria, Madame Cinti, Pucini—Fantasia, Pianoforte, Mr. Moscheles, Moscheles—Duetto, from ‘Armide,’ Mr. Begrez and Madame Cinti; Rossini—‘Airs Suisses Varies.’ Violin, Monsieur Lafont; Lafont—Finale—End of the Concert, the favourite Ballet of LE PETIT CHAPERON ROUGE, by all the principal Performers of this Theatre. Composed by M. Anatole; Music by F. Venna. In the course of which will be introduced, for last time, the much admired new Pas de Deux, by Madamoiselle Noblet and Monsieur Paul, with ‘A Polonoise’ Violin Accompaniment, by Monsieur Lafont.—Monsieur Lafont, at the suggestion of his Friends, will, on this occasion, return to the former custom of placing the Boxes at Three Guineas each, which may be had of Monsieur Lafont, 10, Duke-street, Portland-place; of Messrs. Clementi, Cheapside; and of Mr. Ebers. Bookseller to his Majesty, 27, Old Bond-street.

The Morning Post (July 1, 1822): 3.

The amateurs of music will experience a great on Monsieur LAFONT’S approaching Night. This celebrated Violinists, whose talents delighted Aix-la-Chapelle, St. Petersburg, Amsterdam, and Paris, has catered the greatest variety that the Metropolis could afford without dwelling on MOZART’S Giovanni, by the principal performers of the Opera, and Ballets wherein some of the most celebrated dancers in Europe will assist, the has procured the aid of the fascinating Madamoiselle CINSI, and of Mr. MOSCHELLES, the unrivalled Pianist. The airs Suisses, announced to be played by Mr. LAFONT, are those delightful Melodies performed by him at his Concerts at Paris. in which that famed simple tune called “Le rans des vaches,” is so happily introduced.

The Times (July 2, 1822): 4.

KING’S THEATRE.—Monsieur LAFONT (Premier Violon de sa Majeste le Roi de France) respectfully begs leave to announce to the Nobility, Gentry, Subscribers to the Opera, and the Public, that he will take a BENEFIT at this Theatre, on Thursday next, 4th July, when will be presented, the first act of the celebrated Opera of DON GIOVANNI. Music by Mozart. To be followed by one act of a Vocal and Instrumental Concert, wherein Monsieur Lafont will perform on the Violin a Concerto, and some Airs, Suisses; and Mr. Moscheles a fantasia on the Pianoforte. End of the concert, the Ballet of LE PETIT CHAPERON ROUGE, in the course of which will be introduced, for the last time, the much admired Pas de Deux by Mademoiselle Noblet and Monsieur Paul, with “A Polonoise” Violin Accompaniment, by Monsieur Lafont. Mademoiselle Mercandotti will introduce the “Guaracha.” Monsieur Lafont, at the suggestion of his friends, will on this occasion return to the former custom of placing the boxes at 3 guineas each, which may be had of Monsieur Lafont, 10, Duke-street, Portland-place; of Messrs. Clementi, Cheapside; and of Mr. Ebers, bookseller to his Majesty, 27, Old Bond-street.

The Morning Chronicle (July 3, 1822): 1.

KING’S THEATRE. Monsieur LAFONT. Premier Violon de sa Majeste le Roi de France, respectfully begs leave to announce to the Nobility, Gentry, Subscribers to the Opera, and the Public, that he will take a BENEFIT at this Theatre, TO-MORROW, when will be presented, the First Act of the celebrated Opera of DON GIOVANNI. Music by Mozart—To be followed by One Act of a VOCAL and INSTRUMENTAL CONCERT. Overture; Cherubini—Concerto, Violin, Monsieur Lafont; Lafont—Aria, Madame Cinti, Pucini—Fantasia, Pianoforte, Mr. Moscheles, Moscheles—Duetto, from ‘Armide.’ Mr. Begrez and Madame Cinti; Rossini—‘Airs Suisses Varies.’ Violin, Monsieur Lafont; Lafont—Finale—End of the Concert, the favourite Ballet of LE PETIT CHAPERON ROUGE, by all the principal Performers of this Theatre. Composed by M. Anatole; Music by F. Venna. In the course of which will be introduced, for last time, the much admired new Pas de Deux, by Madamoiselle Noblet and Monsieur Paul, with ‘A Polonoise’ Violin Accompaniment, by Monsieur Lafont.—Monsieur Lafont, at the suggestion of his Friends, will, on this occasion, return to the former custom of placing the Boxes at Three Guineas each, which may be had of Monsieur Lafont, 10, Duke-street, Portland-place; of Messrs. Clementi, Cheapside: and of Mr. Ebers. Bookseller to his Majesty, 27, Old Bond-street.

The Times (July 3, 1822): 3.

KING’S THEATRE.—Monsieur LAFONT (Premier Violon de sa Majeste le Roi de France) respectfully begs leave to announce to the Nobility, Gentry, Subscribers to the Opera, and the Public, that he will take a BENEFIT at this Theatre, TO-MORROW EVENING, July 4, when will be presented, the first act of the celebrated Opera of DON GIOVANNI. In the Finale will be introduced a grand Pas de Cinq, by Mons. C. Vestris, Mad. R. Vestris, Mad. de Varenne, Mad. Roland, and Mad. Hullin: and the celebrated “Guaracha,” by Mademoiselle Mercandotti. The Music by Mozart. To be followed by one act of a Vocal and Instrumental Concert, wherein Monsieur Lafont will perform a Concerto on the Violin, and some Airs varies, Suisses; and Mr. Moscheles a fantasia on the Pianoforte. End of the concert, the favourite Ballet of LE PETIT CHAPERON ROUGE, composed by M. Anatole; music by F. Venua. In the course of which will be introduced, for the last time, the much admired new Pas de Deux by Madamoiselle Noblet and Monsieur Paul, with “A Polonoise” Violin Accompaniment, by Monsieur Lafont. Mons. Lafont, at the suggestion of his friends, will on this occasion return to the former custom of placing the boxes at 3 guineas each, which may be had of Monsieur Lafont, 10, Duke-street, Portland-place; of Messrs. Clementi, Cheapside; and of Mr. Ebers, bookseller to his Majesty, 27, Old Bond-street.

The Morning Chronicle (July 4, 1822): 1.

KING’S THEATRE. Monsieur LAFONT. Premier Violon de sa Majeste le Roi de France, respectfully begs leave to announce to the Nobility, Gentry, Subscribers to the Opera, and the Public, that he will take a BENEFIT at this Theatre, THIS EVENING…[the rest is the same as advertised in The Morning Post on July 3]

The Times (July 4, 1822): 2.

KING’S THEATRE.—Monsieur LAFONT (Premier Violon de sa Majeste le Roi de France) respectfully begs leave to announce to the Nobility, Gentry, Subscribers to the Opera, and the Public, that he will take a BENEFIT at this Theatre, THIS EVENING, July 4, when will be presented, the first act of the [the rest is the same as advertised in The Times on July 3]

Reviews

The Morning Post (July 5, 1822): 2.

KING’S THEATRE.

Mr. LAFONT’S Benefit last night was very numerously and splendidly attended—a due tribute to acknowledged superior talent. There was very little novelty in the performances; but the whole went off with infinite eclat. Most of the songs in the Opera were rapturously encored; and the Concerto on the Violin by M. LAFONT (which was one of the finest performances we have ever witness) was most deservedly crowned with universal and reiterated burst of applause.

The Times (July 5, 1822): 3.

KING’S THEATRE.—The first act of Don Giovanni was performed last night, for the benefit of M. Lafont, and succeeded by a concert, in which he executed several pieces on the violin in the most admirable style. What principally characterizes his performance is, that while his execution is the most extraordinary, the taste and genius of the composer is never for a moment forgotten, nor the spirit of the music sacrificed, as is too frequently the case, to the admiration sought to be excited by the performer’s skill and address. The upper tones were the highest and truest we have ever heard extracted from this instrument; and his shifting was so exquisitely adroit as to render his cadences incapable of being surpassed in brilliancy and case. He executed two concertos of his own, the first, a spirited and masterly composition, and the second, a medley of Swiss airs, full of sweetness and expression, with particular effect. His performance was altogether most, excellent, and was enthusiastically applauded by a numerous, but not a crowded, audience.

The London Magazine, vol. 6 (August 1822): 183-184.

Since our last there have been three Concerts of the first class, one for the benefit of Mr. Moschelles, the second for Mr. Lafont….Mr. Lafont is a most extraordinary player, and his genius is united with a degree of perseverance that belongs to very few professors of liberal art. We are told, by person well acquainted with his habits, that he has been known to retire into the country, to seclude himself wholly from society for months together, and employ himself literally from sun-rise till bedtime in the practice and perfecting of a single concerto. To such patient labour and unwearied enthusiasm all difficulties must yield; and his execution is masterly in proportion. Nor is his good taste inferior to his command of the instrument, for he never forgets what is due to the composer. His intonation is perhaps more true than that of almost any performer, and his cadences are remarkable for their variety, beauty, and consistency with the general design. This Concert was curiously constructed; it was given at the King’s Theatre, and consisted of the first act of Il Don Giovanni, an orchestral performance, and a ballet. The audience was not numerous.

19 June 1822

Christoph Gottfried Kiesewetter’s Concert

London: New Argyll Rooms

Time: Evening, Half Past Eight o’Clock

Tickets: 10s. 6d.

 

↓Programme

Piano DuetMessrs. J. B. Cramer, MoschelesJ. B. Cramer & Moscheles
Harp FantasiaMr. DiziMaurer
Rondo with VariationsMr. Kiesewetter 
Violin Concerto (MS)Mr. KiesewetterMaurer
Principal Vocalists:  Signora Camporese, Mme, Caradori, Signora de Begnis, Miss Goodall, Mrs. Salmon; Mr. Begrez
Principal Instrumentalists: Messrs. Dizi, J. B. Cramer, Kiesewetter, Moscheles, Signor Zuchelli
Leader: Mr. Henry Smart; Conductor: Sir George Smart

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Programme Notes: The piano duet performed by J. B. Cramer and Moscheles is most likely the same as the one performed on May 9.


Charlotte: He had half promised Kiesewetter to make a tour with him in Scotland in the autumn, but abandoned the idea.  He had but little sympathy with Kiesewetter’s eccentric views and mode of life, so ill adapted to his weak constitution. [RMM, 47.]

Advertisements

The Morning Chronicle (June 3, 1822): 1.

MR. KIESWETTER [sic] has the honour to acquaint the Nobility, Gentry, and his Friends, that his BENEFIT CONCERT will take place at the NEW ARGYLL ROOMS, on Wednesday, the 19th of June.

The Morning Chronicle (June 19, 1822): 1.

MR. KIESEWETTER’S CONCERT, ARGYLL-ROOMS, THIS EVENING.—Mr. KIESEWETTER has the honour to announce, that his CONCERT will take place as above. Principal Vocal Performers, Mrs. Salmon, Madame Ronzi de Begnis, Signora Caradori, Miss Goodall, and Madame Camporese; Mr. Braham, Signor de Begnis, Mr. Begrez, and Signor Zuchelli. Mr. J. B. Cramer and Mr. Moschelles (by particular desire) will perform, positively for the last time, the celebrated Duet for two Grand Pianofortes, by Cramer and Moschelles. Mr. Dizi will perform a Fantasia on the Harp, and Mr. Kiesewetter, on the Violin, a Rondeau with Variations, and a new Concerto MS., by Mourer.—Leader of the Band, Mr. H. Smart. Conductor, Sir. G. Smart.—Full particular of the Concert, which will commence at half-past eight o’clock, are given in the small bills, which, with tickets, half a guinea each, may be obtained at the principal Music Shop; and of Mr. Kiesewetter, Sablonier Hotel, 30, Leicester-square, of whom boxes may be engaged accommodation for parties of six and upwards.

The Morning Post (June 19, 1822): 1.

MR. KIESEWETTER’S CONCERT, ARGYLL-ROOMS, THIS EVENING, June 19.—Mr. KIESEWETTER has the honour to announce, that his CONCERT will take place as above. Principal Vocal Performers, Mrs. Salmon, Madame Ronzi de Begnis, Signora Caradori, Miss Goodall, and Madame Camporese; Mr. Braham, Signor de Begnis, Mr. Begrez, and Signor Zucchelli. Mr. J. B. Cramer and Mr. Mochelles [sic] (by particular desire) will perform (positively for the last time) the celebrated Duet for two Grand Piano Fortes, by Cramer and Moschelles. Mr. Dizi will perform a Fantasia on the Harp; and Mr. Kiesewetter, on the Violin, a Rondeau with Variations; and a new Concerto (MS.), by Mourer. Leader of the Band, Mr. H. Smart. Conductor, Sir. G. Smart.—Full particular of the Concert, which will commence at Half-past Eight o’clock, are given in the small Bills, which with Tickets, Half-a-Guinea each, may be obtained at the principal Music Shop; and of Mr. Kiesewetter, Sablonier Hotel, 30, Leicester-square, of whom Boxes may be engaged. Accommodation for Parties of six and upwards.

Review

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 Kiesewetters…mit gleichem Erfolg hören.

10 June 1822

 Eighth Philharmonic Society Concert

London: New Argyll Rooms

Time: Evening, Eight o’Clock

Subscription Concert: 4 Guineas

 

Programme

Programme

Part I    
Symphony in E flat major Mozart
From The Creation: Air, ‘Now Heaven in fullest glory shone’Signor ZuchelliHaydn
Piano Concerto No.3 in G minor (MS)Mr. MoschelesMoscheles
From Agnese: Duet, ‘Quel sepolcro’Mme Caradori, Signor ZuchelliPaër
Overture in D major B. Romberg
Part II    
Symphony No.5 in C minor  Beethoven
From Sigismondo: Scena and Cavatina, ‘Oggetto amabile’Miss H. Ashe  
(first performance in London)
Rossini
Violin ConcertoMr. KiesewetterMaurer
From Le nozze di Figaro  
Recit. ‘E Susanna non vien!’  
Aria, ‘Dove sono! i bei momenti’
Mme CaradoriMozart
Overture, Anacréon Cherubini
Principal Vocalists: Mme Caradori, Miss H. Ashe; Signor Zuchelli  
Principal Instrumentalists: Messrs. Kiesewetter, Moscheles
Leader: Signor Paolo Spagnoletti, Conductor: Mr. Henry Rowley Bishop

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Salary: £21

[GB-Lbl RPS MS 299, f10 v.]


Charlotte: Moscheles played his G minor concerto, which he had lately reconstructed, first at the Philharmonic. [RMM, 44.]

Advertisements

Philharmonic Society Programme

UNDER THE IMMEDIATE PATRONAGE OF

His Majesty.

————————

PHILHARMONIC SOCIETY.

————————

EIGHTH CONCERT, MONDAY, 10th of JUNE, 1822.

ACT I.

Sinfonia in E. flat                       –                  –                 –                 –    Mozart.
Air, Signor ZUCHELLI, “Now heaven in fullest glory shone,” 
    (The Creation)                        –                  –                 –                 –    Haydn.
New Concerto, MS. Piano-forte—Mr. MOSCHELES,   –                –  Moscheles.
Duetto, Signora CARADORI and Signor ZUCHELLO,             “Quel 
    sepolcro,”   (Agnese)               –                  –                 –                 –    Paër
Overture in D.        –         –         –        –          –          –           –           –          B. Romberg.

ACT II.

Sinfonia in C. Minor                   –                   –                  –                –    Beethoven.
New Scena e Cavatina, Miss H, ASHE, “Ogetto amabile,”            
   (first time of performance in London)                           –                  –                Rossini.
Concerto Violin, Mr. KEISEWETTER             –              –                 –              Mauer.
Recit. ed Aria, Signora CARADORI, “Dove sono,” (Le Nozze 
   Di Figaro)         –         –         –        –          –          –            –             –         Mozart.
Overture to Anacreon               –                  –                   –                  –                 –Cherubini.
————
Leader, Mr. SPAGNOLETTI.—Conductor, Mr. BISHOP.
————

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 Quarterly Musical Magazine and Review, vol. IV (May 1822): 253.

…Our account does not embrace the eight and last-but it is understood that Mr. MOSCHELES was to perform.

Reviews

The Morning Post (June 12, 1822), [2].

ARGYLL ROOMS.

The eighth and concluding Concert of the PHILHARMONIC SOCIETY, for the present season, took place on Monday night in these Rooms, and, as usual, was attended by a very numerous audience. This Concert, which was obviously founded more for the honour of the Art, than for views of pecuniary advantage, has been always supported by the very best musical professors, native and foreign, that the country could supply. It was on this occasion led by SPAGNIOLETTI, a first- rate musician. The performers were Sig. ZUCHELLI, Signora CARADORI, and Miss H. ASHE. A strong interest was obviously excited by the expectation of the latter, as the daughter of a performer of high and merited distinction. We never witnessed. a more interesting appearance. Miss ASHE possesses a very agreeable person, and is very young— but her taste, science, and voice, are of the first order. She sung a new Scena e Cavatina of ROSSINI, in a manner that demonstrated the admirable school in which she had been educated, and her own talents and sensibility. Her voice is clear, full, and sweet, and her intonation the most perfect we ever heard. She received, as she deserved, the warmest applause; and we may venture to predict that she will prove one of the brightest ornaments of our musical circles.  

One of the highest gratifications of the season was afforded on this occasion, in a most extraordinary display of talent by M. MOSCHELES. The piece which he executed, was a new Concerto in G minor, which exhibited great originality of genius, novelty of character, and elevation of style. His entire command of the instrument, from the most exquisite delicacy, to the full power of the Pianoforte, enabled him to throw into his performance the boldest contrasts, and to manage the intermediate gradations, with the happiest effect. Difficulties are but pastimes to him; and in passages of amazing rapidity, his rich imagination supplies such innumerable beauties as to make his execution not merely matter of surprise, but of the highest delight and admiration. His brilliant performance must excite great curiosity as to what Mr. MOSCHELES will produce for his benefit.

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.

25 May 1822

Robert Nicolas Charles Bochsa’s Grand Musical Performance, (Selection of Sacred, Antient Modern Music)

London: Royal Theatre, Covent Garden

Time: Evening

 

Programme

Part I  
Overture, Redemption Handel
From Ezio: Recit. and Air, ‘He layeth the beams’Mr. BellamyHandel
From Joshua: Air, ‘O had I Jubal’s lyre’Miss GoodallHandel
From Israel in Egypt
Duet, ‘The Lord is a man of war’
‘He gave them hailstones’

Mr. Bellamy, Signor Zuchelli
Chorus
Handel
From Judas Maccabæus: Air, ‘Pious orgies’ Miss PoveyHandel
From Semele: Recit. and Air, ‘Lord, what is man’Mr. VaughanHandel
From Theodora: Recit. and Air  
‘Angels, ever bright and fair’
Miss StephensHandel
From Saul
Air, ‘Welcome, welcome, mighty King’
Air, ‘David his ten thousand slew’

Semi-chorus
Full-chorus
Handel
From Judas Maccabæus: March Handel
From Redemption  
Air, ‘Holy, holy, Lord God Almighty’
Mrs. SalmonHandel
From Israel in Egypt
Chorus, ‘The Lord shall reign’  
Recit., ‘For the host of Pharaoh’
Solo, ‘Sing ye to the Lord’   
Chorus, ‘The horse and his rider’

Chorus  
Mr. Pyne  
Miss Stephens  
Grand Double Chorus   
Handel
Piano Fantasia with Orchestral   Accompaniments (MS)Mr. MoschelesMoscheles
From Le nozze di Figaro  
Duet, ‘Sull’aria…che soave zeffiretto’
Signora Camporese, Signora de BegnisMozart
Part II    
From Bajazet
Piece One, Piece Three, Piece Four, Piece Five, Piece Six
Principal Parts: Signora Camporese,
Signora de Begnis; Messrs. Begrez,
Sapio, Signor Zuchelli
Lord Burghersh
Violin Concerto  Mr. MoriViotti  
From [Mosè in Egitto]  
Recit. ‘Invocation to the Deity’
Signor de BegnisRossini
From Mosè in Egitto  
Quintet, ‘Praise for the return of light’
Signora de Begnis, Messrs. Begrez,
Sapio, Signors de Begnis, Placci, Chorus; Harp: Mr. Bochsa; Horn: Mr. Tully
Rossini
From Le nozze di Figaro
Duet, ‘Crudel! perchè finora’
Signora Camporese, Signor CartoniMozart
From Jephtha  
Recit., ‘Deeper and deeper still’
Aria, ‘Waft her, angels, through the skies’
Mr. SapioHandel
From Tancredi
Duet, ‘Ah! se de’ mali miei’    
Mme Vestris, Mr. BegrezRossini
From The Creation: Recit. and Air  
‘Now heav’n in fullest glory shone’
Signor Zuchelli  
(first performance at this theatre)
Haydn
From L’Allegro, il Penseroso ed il Moderato
Air, ‘Sweet Bird’ 
Miss Stephens;
Flute Obbligato: Mr. Nicholson
Handel
From Christus am Ölberge: ‘Hallelujah’Grand ChorusBeethoven
Concertante for Two Harps incl. ‘We’re a noddin’ arranged by Hawes (MS)       Messrs. Bochsa, Dizi
(by particular desire)
Bochsa & Dizi
From Comus: Duet, ‘The Echo’
(by particular desire)
Mrs. Salmon, Miss StephensArne
Part III    
Glee for Four Voices
‘Oh Nanny, wilt thou gang with me’  
Miss Stephens, Messrs. Bellamy, Greethead, VaughanCarter and Harrison
Recit. and Aria, ‘Fra tante angoscie’Signor TorriCarafa
Irish Melody with Variations,
‘The last rose of summer’
Mrs. Salmon; Harp Obbligato: Mr. BochsaArranged by Bochsa
From Don Giovanni
Duet, ‘Là ci darem la mano’
Signora de Begnis, Signor de BegnisMozart
French Air, ‘The Young Crusader’Mrs. BellchambersArranged with
original words by E. Bellchambers
Grand Chorus, ‘O praise the God of mercy’Grand ChorusBochsa
From Don Giovanni: Duet and Chorus 
‘Giovinette che fate all’amore’
Miss Stephens, Signor Ambrogetti, ChorusMozart
National Anthem, ‘God Save the King’  
Principal Vocalists: Mrs. Bellchambers, Miss Goodall, Miss Povey, Mrs. Salmon, Miss Stephens, Mme Vestris, Signora Camporese, Signora de Begnis; Messrs. Bellamy, Begrez, Greethead, Pyne, Sapio, Vaughan, Signors Ambrogetti, de Begnis, Placci, Torri, Zuchelli
Principal Instrumentalists: Messrs. Bochsa, Dizi, Lindley, Mori, Moscheles, Nicholson, Tully
Conductor: Sir George Smart  

———————————

Encore: ‘He gave them hailstones’—Chorus—Handel


Moscheles: This monster programme puts even Astley’s Theatre in the shade, where in one evening the public is treated to a Scotch Hercules, several tight-rope dancers, two Laplanders, two dogs and a bear!.[RMM, 46.]

Moscheles: Was sind alle Concerte gegen das des Harfenspieler-Charlatans Bochsa! Gehört habe ich nur ein Pröbchen davon, aber hier schreibe ich mir das Programm her, obgleich schon dies eine Riesenarbeit ist….

Erster Theil.

  1. Ouverture aus dem Oratorium the Redemption, v. Händel.
  2. Arie, ges. Y. Bellamy.
  3. Arie aus Josua, Miss Goodall.
  4. Duett – Israel in Egypten.
  5. Chor.
  6. Arie aus Judas Maccabäus.
  7.     ”   aus Semele.
  8.     ”   aus Theodora.
  9. Chor aus Saul.
  10. Marsch aus Judas Maccabäus.
  11. Arie aus the Redemption.
  12. Chor aus Israel in Egypten.
  13. Duett aus Figaro.
  14. Alexander-Variationen (von mir selbst gespielt).

Zweiter Theil

(zu welchem das Publicum für den halben Eintrittspreis Einlass hatte.)

  1. 6 Stücke aus einem musikalischen Drama: Bajazet, Musik von einem Lord Burghersh.
  2. Violin-Concert v. Viotti, vorgetr. von Mori.
  3. Recit. und Chor aus Moses, v. Rossini.
  4. Quintett.
  5. Duett aus Figaro, ges. v. Mad. Camporese und Cartoni.
  6. Arie aus Jephtah.
  7. Duetto aus Tancredi v. Rossini, ges. v. Mad. Vestris und Begrez.
  8. Recit. und Arie aus der Schöpfung, ges. v. Zochel1i.
  9. RecH. und Arie aus: il Pensieroso v. Händel, ges. v. Miss Stephens

[AML I, 67-68.]

Advertisements

Public Ledger and Daily Advertiser (May 17, 1822): 1.

WHITSUN-EVE.

THEATRE ROYAL, COVENT-GARDEN.

GRAND MUSICAL, PERFORMANCE,

Under the Management of Mr. BOCHSA.

On SATURDAY, May 25, a GRAND SELECTION of SACRED, ANTIENT, and MODERN MUSIC, From the Works of Handel, Haydn, Mozart, Beethoven, and other celebrated Composers, including several of the most favourite Compositions performed during the Lent Season.

Principal Vocal Performers:—Mrs. Salmon, Miss Stephens, Madame Ronzi De Begnis, Madame Vestris, Miss Goodall, Mrs. Bellchambers, Miss Povey, and Madame Camporese.—Mr. Vaughan, Mr. Bellamy, Mr. Begrez, Mr. Sapio, Signor Ambrogetti, Signor De Begnis, Signor Placci, Signor Torri, Signor Cartoni, Mr. Pyne, Mr. Hawes, Mr. Nelson, Mr. Greethead, Mr. Tinney, Master Longhurst, and Signor Zuchelli, his first performance at this Theatre.

Principal Instrumental Performers:—On the Grand Piano Forte, Mr. Moscheles, his first performance at this Theatre; Violin, Mr. Mori; Harps, Mr. Bochsa and Mr. Dizi; Flute, Mr. Nicholson; and Violoncello, Mr. Lindley.

Sir George Smart will conduct the Performance, and preside at the Organ, built by Mr. Gray.

The Times (May 18, 1822): 3.

WHITSUN-EVE.—THEATRE ROYAL, COVENT-GARDEN.—GRAND MUSICAL, PERFORMANCE, under the management of Mr. BOCHSA.— On Saturday, May the 25th, 1822, a GRAND SELECTION of SACRED, Ancient, and Modern MUSIC, from the works of Handel, Haydn, Mozart, Beethoven, and other celebrated composers, including several of the most favourite compositions performed during the Lent Season. Principal Vocal Performers:—Mrs. Salmon, Miss Stephens, Madame Ronzi de Begnis, Madame Vestris, Miss Goodall, Mrs. Bellchambers, Miss Povey, and Madame Camporese; Mr. Vaughan, Mr. Bellamy, Mr. Begrez, Mr. Sapio, Signor Ambrogetti, Signor de Begnis, Signor Placci, Signor Torri, Signor Cartoni, Mr. Pine, Mr. Hawes, Mr. Nelson, Mr. Greethead, Mr. Tinney, Master Longhurst, and Signor Zuchelli, his first performance at this theatre. Principal Instrumental Performers:—On the grand pianoforte, Mr. Moscheles, his first performance at this theatre; violin, Mr. Mori; harps, Mr. Bochsa and Mr. Dizi; flute, Mr. Nicholson; and violoncello, Mr. Lindley. Sir George Smart will conduct the performance, and preside at the organ built by Mr. Gray.

The Observer (May 19, 1822): 3.

WHITSUN-EVE.—THEATRE ROYAL, COVENT-GARDEN.—Grand Musical Performance, under the Management of Mr. Bochsa.— ON SATURDAY, May 25, 1822, a GRAND SELECTION of SACRED, ANTIENT, and MODERN MUSIC, from the works of Handel, Haydn, Mozart, Beethoven, and other celebrated composers, including several of the most favourite compositions performed during the Lent Season.

Principal Vocal Performers:—Mrs. Salmon, Miss Stephens, Madame Ronzi De Begnis, Madame Vestris, Miss Goodall, Mrs. Bellchambers, Miss Povey, and Madame Camporese; Mr. Vaughan, Mr. Bellamy, Mr. Begrez, Mr. Sapio, Signor Ambrogetti, Signor De Begnis, Signor Placci, Signor Torri, Signor Cartoni, Mr. Pine, Mr. Hawes, Mr. Nelson, Mr. Greethead, Mr. Tinney, Master Longhurst, and Signor Zuchelli, his first performance at this Theatre.—Principal Instrumental Performers: On the Grand Piano Forte, Mr. Moscheles, his first performance at this Theatre; Violin, Mr. Mori; Harps, Mr. Bochsa and Mr. Dizi; Flute, Mr. Nicholson; and Violoncello, Mr. Lindley.—Sir George Smart will conduct the performance, and preside at the Organ built by Mr. Gray.

Public Ledger and Daily Advertiser (May 20, 1822): 4.

The Musical World are anticipating a rich treat in the Grand Selection of Sacred Music which Mr. Bochsa is preparing for his benefit on Saturday, the 25th inst. at Covent-garden. The taste which Mr. Bochsa displayed in his Selections during the last Oratorio Season was so highly gratifying to the Amateurs, that no doubt can be entertained of his success on the present occasion. The Selections are from the best ancient and modern Composers, both native and foreign, and the Performers, vocal and instrumental, are such as seldom, if ever, were assembled at one time. To enumerate them would be to mention every name that is eminent in either department. We shall, however, mention that of Signor Zuchelli among the first, and Mr. Moscheles in the latter, as being their first appearance. Of both these Professors Fame speaks most highly; and for the performance of the latter on the grand pianoforte, expectation is on the tiptoe.

The Morning Post (May 20, 1822): 1.

WHITSUN-EVE.—THEATRE ROYAL, COVENT-GARDEN. GRAND MUSICAL, PERFORMANCE, under the management of Mr. BOCHSA. On SATURDAY, May 25, a GRAND SELECTION of SACRED, ANTIENT, and MODERN MUSIC, from the Works of Handel, Haydn, Mozart, Beethoven, and other celebrated Composers, including several of the most favourite Compositions performed during the Lent Season. Principal Vocal Performers—Mrs. Salmon, Miss Stephens, Madame Ronzi De Begnis, Madame Vestris, Miss Goodall, Mrs. Bellchambers, Miss Povey, and Madame Camporese; Mr. Vaughan, Mr. Bellamy, Mr. Begrez, Mr. Sapio, Signor Ambrogetti, Signor De Begnis, Signor Placci, Signor Torri, Signor Cartoni, Mr. Pine, Mr. Hawes, Mr. Nelson, Mr. Greethead, Mr. Tinney, Master Longhurst, and Signor Zuchelli, his first performance at this Theatre. Principal Instrumental Performers.—On the Grand Pianoforte, Mr. Moscheles, his first performance at this Theatre; Violin, Mr. Mori; Harps, Mr. Bochsa and Mr. Dizi; Flute, Mr. Nicholson; and Violoncello, Mr. Lindley. Sir George Smart will conduct the performance, and preside at the Organ built by Mr. Gray.

Playbill (May 25, 1822).

WHITSUN-EVE.

Theatre Royal, Covent Garden.

———————————

This Evening, Saturday, May 25th, 1822,

WILL BE PERFORMED

A Grand Selection of Sacred, Antient, and Modern

MUSIC.

———————————

PART I.

A Selection from the Sacred Oratorio,

THE REDEMPTION.

The Pieces in which are from

THE OCCASIONAL ORATORIO, THEODORA, ISRAEL IN EGYPT, JOSHUA, SAUL,

AND JUDAS MACCABAEUS.

The Selection forming this Oratorio, was arranged by the late Dr. ARNOLD, from the favourite Works of HANDEL, and performed at his Commemoration in WESTMINDER ABBEY.

Overture to the Occasional Oratorio.

Recit. and Air, Mr. BELLAMY—He layeth the beams.

Air, Miss GOODALL—O had I Jubal’s lyre……………………………….(Joshua.)

Duet, Mr. BELLAMY and Signor ZUCHELLI—The Lord is a man of war………………(Israel in Egypt)

Grand Double Chorus—He gave them hailstones…………..(Israel in Egypt)

Air, Miss POVEY—Pious Orgies…………………………………………………..(Judas Maccabæus.)

Recit. and Air, Mr. VAUGHAN—Lord, what is man……..(Semele.)

Recit. and Air, Miss STEPHENS—Angels, ever bright and fair………………………..(Theodora.)

Semi-Chorus—Welcome, welcome, mighty king……………… (Saul)

                                     Full-Chorus—David his ten thousand slew…………………. [Saul]             

MARCH in JUDAS Maccabæus.

Air, Mrs. SALMON—Holy, holy, Lord God Almighty.

Chorus—The Lord shall reign……………………. (Israel in Egypt.)

Recit. Mr. PYNE—For the host of Pharaoh………. [[Israel in Egypt.]

Chorus—The Lord shall reign……………………. [Israel in Egypt.]

Solo, Miss STEPHENS—Sing ye to the Lord…… [Israel in Egypt.]

Grand Double Chorus—The horse and his rider…. [Israel in Egypt.]

——————————————————————

Between the First and Second Parts,

New Fantasia (MS.) for the Grand Piano Forte, Mr. MOSCHELES,

With Orchestral Accompaniments……………..Moscheles.

Duetto, Madame CAMPORSE and Madame RONZI DE BEGNIS—Sull’ aria…..(Figaro.)….Mozart.

——————————————————————

PART II.

In consequence of the general Acclamations of Applause during the Performance in the Lent Season, will be repeated, by Permission of the Author, a Selection from the MS serious Drama entitled

BAJAZET.

The Principal Parts by Madame CAMPORESE, Madame RONZI DE BEGNIS, Mr. BEGREZ, Mr. SAPIO, Signor PLACCI, and Signor DE BEGNIS, and Chorus, accompanied on the Harp by Mr. BOCHSA, & on the Horn by Mr. TULLY—Praise for the return of light—from Rossini’s celebrated Sacred Oratorio,

MOSES IN EGYPT,

(As performed, for the first time in this Country, with the greatest Applause, during the Lent Season.)

Duetto, Madame CAMPORESE and Signor CARTONI—Crudel perche finora…….(Figaro.)…….Mozart.

Recit. Mr. SAPIO, “Deeper and deeper,” and Air. “Waft her, Angels.”. . . . . .(Jephthah.). . . . . . .Handel

Recit. e Duetto, Madame VESTRIS and Mr. BEGREZ—Ah se di mali miei…….(Il Tancredi.)……Rossini.

Recit. and Air, Signor ZUCHELLI, (first time)—Now heav’n in the fullest glory shone.    From the

         CREATION.                                                       Haydn.

Recit. and Air, Miss STEPHENS—Sweet bird—Flute Obligato, Mr. NICHOLSON..(Il Pensieroso.)…Handel. Grand Chorus—Hallelujah………..(Mount of Olives.)………….Beethoven

——————————————————————

Between the Second and Third Parts,

By particular Desire, the Concertante (MS.) for Two Harps, Mr. BOCHSA and Mr. DIZI…..Bochsa & Dizi.

In which will be introduced the favourite Air, “We’re a noddin;” arranged by Mr. Hawes.

(By particular Desire)—The Echo Duet, Mrs. SALMON and Miss STEPHENS….(Comus.)….Dr. Arne.

——————————————————————

PART III.

A Miscellaneous Act.

Air, harmonized by Harrison—O Nanny—Miss STEPHENS, Mr. GREETHEAD, Mr. VAUGHAN, and Mr. BELLAMY…….Carter.

Recit. ed Aria, Signor TORRI—Fra tante angoscie…………..Carafa.

Irish Melody (with Variations), Mrs. SALMON—’Tis the last rose of summer—Harp Obligato, Mr. BOCHSA; newly arranged by Bochsa.

Duetto, Madame RONZI DE BEGNIS and Signor DE BEGNIS—La ci darem…….(Il Don Giovanni.) ……..Mozart.

Favourite French Air, Mrs. BELLCHAMBERS—The Young Crusader. Arranged with original Words by E. Bellchambers, Esq.

Grand Chorus— O praise the God of mercy…………….(The Debige.)………………..Bochsa.

Duetto, Miss STEPHENS and Signor AMBROGETTI, and Chorus—Giovinette che fate………..(Il Don Giovanni.)……..Mozart.

The Performance to conclude with

The National Anthem, GOD SAVE THE KING, Verse and full Chorus.

[GB-Lbl Playbills 98]

Public Ledger and Daily Advertiser (May 25, 1822): 1.

WHITSUN-EVE.

THEATRE ROYAL, COVENT-GARDEN.

GRAND MUSICAL, PERFORMANCE,

Under the Management of Mr. BOCHSA.

THIS EVENING, May 25, a GRAND SELECTION of SACRED, ANTIENT, and MODERN MUSIC. From the Works of Handel, Haydn, Mozart, Beethoven, and other celebrated Composers, including several of the most favourite Compositions performed during the Lent Season.

Selections of the MS. Serious Drama of BAJAZET, and Rossini’s Sacred Oratorio, MOSES IN EGYPT, and a GRAND MISCELLANEOUS ACT.

Principal Vocal Performers:—Mrs. Salmon, Miss Stephens, Madame Ronzi De Begnis, Madame Vestris, Miss Goodall, Mrs. Bellchambers, Miss Povey, and Madame Camporese.—Mr. Vaughan, Mr. Bellamy, Mr. Begrez, Mr. Sapio, Signor Ambrogetti, Signor De Begnis, Signor Placci, Signor Torri, Signor Cartoni, Mr. Pyne, Mr. Hawes, Mr. Nelson, Mr. Greethead, Mr. Tinney, Master Longhurst, and Signor Zuchelli, his first performance at this Theatre.

Principal Instrumental Performers:—On the Grand Piano Forte, Mr. Moscheles, his first performance at this Theatre; Violin, Mr. Mori; Harps, Mr. Bochsa and Mr. Dizi; Flute, Mr. Nicholson; and Violoncello, Mr. Lindley.

Sir George Smart will conduct the Performance, and preside at the Organ, built by Mr. Gray.

The Morning Post (May 25, 1822): 1.

WHITSUN-EVE.—THEATRE ROYAL, COVENT-GARDEN. GRAND MUSICAL, PERFORMANCE, under the management of Mr. BOCHSA. THIS EVENING, May 25, a GRAND SELECTION of SACRED, ANTIENT, and MODERN MUSIC, from the Works of Handel, Haydn, Mozart, Beethoven, and other celebrated Composers, including several of the most favourite Compositions performed during the Lent Season.

Selections of the MS. Serious Drama of BAJAZET, and Rossini’s Sacred Oratorio, MOSES IN EGYPT, and A GRAND MISCELLANEOUS ACT. Principal Vocal Performers—Mrs. Salmon, Miss Stephens, Madame Ronzi De Begnis, Madame Vestris, Miss Goodall, Mrs. Bellchambers, Miss Povey, and Madame Camporese; Mr. Vaughan, Mr. Bellamy, Mr. Begrez, Mr. Sapio, Signor Ambrogetti, Signor De Begnis, Signor Placci, Signor Torri, Signor Cartoni, Mr. Pine, Mr. Hawes, Mr. Nelson, Mr. Greethead, Mr. Tinney, Master Longhurst, and Signor Zuchelli, his first performance at this Theatre. Principal Instrumental Performers—On the Grand Pianoforte, Mr. Moscheles, his first performance at this Theatre; Violin, Mr. Mori; Harps, Mr. Bochsa and Mr. Dizi; Flute, Mr. Nicholson; and Violoncello, Mr. Lindley. Sir George Smart will conduct the performance, and preside at the Organ built by Mr. Gray.

The Times (May 25, 1822): 3.

THEATRE ROYAL, COVENT-GARDEN.

WHITSUN-EVE.

GRAND MUSICAL, PERFORMANCE, under the management of Mr. Bochsa.

THIS EVENING, a GRAND SELECTION of SACRED, ANCIENT, and MODERN MUSIC, from the works of Handel, Haydn, Mozart, Beethoven, and other celebrated composers, including several of the most favourite Compositions performed during the Lent Season. Selections from the. MS. Serious Drama of Bajazet, and Rossini’s Sacred Oratorio, Moses in Egypt, and a Grand Miscellaneous Act. Principal Vocal Performers:—Mrs. Salmon, Miss Stephens, Madame Ronzi de Begnis, Madame Vestris, Miss Goodall, Mrs. Bellchambers, Miss Povey, and Madame Camporese; Mr. Vaughan, Mr. Bellamy, Mr. Begrez, Mr. Sapio, Signor Ambrogetti, Signor de Begnis, Signor Placci, Signor Torri, Signor Cartoni, Mr. Pine, Mr. Hawes, Mr. Nelson, Mr. Greathead, Mr. Tinney, Master Longhurst, and Signor Zuchelli, his first performance at this theatre. Principal Instrumental Performers:—On the Grand Pianoforte, Mr. Moscheles, his first performance at this theatre; Violin, Mr. Mori; Harps, Mr. Bochsa and Mr. Dizi; Flute, Mr. Nicholson; and Violoncello, Mr. Lindley. Sir George Smart will conduct the performance, and preside at the Organ.

Reviews

The Times (May 27, 1822): 3.

COVENT-GARDEN THEATRE.

A selection of music, eminently distinguished by its variety and its excellence, was performed here on Saturday evening. The works of Handel, Hayden [sic], Beethoven, and Rossini, supplied the more solid part of the entertainment; the lighter portion was chiefly borrowed from Mozart’s operas of Figaro and Don Giovanni, relieved by a few of the popular compositions of Dr. Arne and other celebrated English professors. The vocal and instrumental departments comprised much both of native and foreign ability. The talents of Mrs. Salmon, Miss Stephens, Madame Ronzi de Begnis, Signor de Begnis, and Signor Zucchelli, gave lustre to. The former department; and the skill and science of Messrs. Moscheles, Mori, Bochsa, Dizi, Nicholson, and Lindley, impressed the amateurs of musical excellence with a very high opinion of the latter. It would be exceedingly difficult, where variety went hand in hand with merit, to point out particular exertions as worthy of extraordinary praise. In the execution of the sacred music, Mrs. Salmon, who is without doubt the finest oratorio singer of the day, Miss Stephens, Mr. Sapio, and Signor Zucchelli, greatly distinguished themselves. The last named individual made his first appearance here on this occasion. His deep, flexible, and musical bass, was finely suited to the recitative and air from Haydn’s Creation, descriptive of the animal kingdom, before the master-piece of Almighty Architect was called into being. Mr. Sapio gave the recitative and air “Deeper and deeper still” with much feeling. Miss Stephens sang “Angels ever bright and fair” with her accustomed pathos and simplicity. In the miscellaneous part of the entertainment we. Were delighted with the letter-duet between the Countess and Susanna, from the opera of Figaro, which was executed in an enchanting style by Mesdames Camporese and Ronzi de Begnis. A duet from Rossini’s opera of Tancredi was performed in a very fine style by Madame Vestris and Signor de Begnis. It is one of the most spirited compositions in the opera, and it was sung with commensurate energy, particularly that part in which the sound of the trumpet calls the warrior “al campo!” Miss Stephens’s song “Sweet Bird,” accompanied on the flute obligato, by Mr. Nicholson, and the celebrated echo song from Comus, by Miss Stephens and Mrs. Salmon, were fine specimens of pure harmony. In the course of the evening, Mr. Moschelles (his first appearance here) performed a fantasia on the grand pianoforte. It is quite impossible to give an adequate idea of his rapid and brilliant execution. It is said of Timotheus, that he

“with flying fingers touched the lyre.”

If we remove the last word, and substitute “keys,” the line will be perfectly applicable to Mr. Moschelles. He selected a very simple theme for his fantasia; but he pursued it “through all the compass of the notes,” and introduced so many extraordinary combinations and amazing involutions, that the capabilities of the instrument seemed to be almost exhausted. The most energetic plaudits rewarded the exertions of this wonderful performer. We cannot close this article without noticing the perfect manner in which the choruses were executed. Handel’s celebrated chorus, “He gave them Hailstones,” was loudly encored. The house was fully and fashionably attended.

The London Magazine, vol. 6, (July 1822): 91.

The Oratorio on Whitsun-even comprised a noble and very various selection of ancient and modern composition, and was supported by cento of the finest talents, both English and foreign. Mr. Vaughan, Mr. Sapio, Mr. Pyne, Mr. Begrez, and Signor Torri, were the tenors. Mr. Bellamy, Signors Ambrogetti, Zuchelli, Placci, De Begnis, and Cartoni, the basses. Mrs. Salmon, Mrs. Bellchambers, Mesdames Camporese and De Begnis, with Misses Stephens, Goodall, and Povey, the sopranos. Moscheles, Mori, Lindley, Bochsa, Dizi, and Nicholson, the concerto and obligato players, made up a band that has rarely been exceeded. Some of the most splendid of Handel’s songs, duets, and choruses, with Lord Burghersh’s Bajazet, Rossini’s Mose in Egitto, part of Haydn’s Creation, and Beethoven’s Mount of Olives, afforded the sacred and serious parts. To these were added, airs and duets, from Arne, Mozart, and living composers; altogether presenting a mass of performance so vast, that we almost wonder at the patience of the audience to hear it out. The million must love quantity dearly, for no excellence of quality could keep attention alive during so protracted a period.

20 May 1822

Pierre-Ignace Begrez’s Concert

London: Mrs. Hughes’ Residence, South Audley Street

Time: Evening, Half Past Nine o’Clock

Tickets: 1 Guinea

 

Programme

Principal Vocalists: Signora Camporese, Mme Caradori, Signora de Begnis, Mrs. Salmon; Messrs. Begrez, Sapio, Signors Ambrogetti, Curioni, de Begnis, Placci, Torri, Zuchelli
Principal Instrumentalists: Messrs. Bochsa, Kiesewetter, Moscheles, Puzzi

———————————

Advertisements

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

20. Begrez’ Concert-at Mrs. Hughes’s.

John Bull (May 12, 1822), 1.

MR. BEGREZ has the honour to announce, that his CONCERT will take place on MONDAY, the 20th of May, at the splendid Residence of Mrs. Hughes, in South Audley street.—Principal Performers: Madame Camporese, Ronzi de Begnis, Caradori, and Salmon; Signors Curioni, Torri, Sapio, De Begnis, Placci, Ambrogetti, and Zuchelli; Messrs. Bochsa, Puzzi, Kiesewetter, and Moscheles, &c. &c. &c.— Applications for Tickets, One Guinea each, to be made to Mr. Begrez. 14, Oxendon-street, Haymarket. The Subscription limited. To begin at half past nine precisely. 

17 May 1822

Mrs. Eliza Salmon’s Concert

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

Tickets: 10s. 6d., Boxes available

 

Programme

Air with variations
‘The last rose of summer’  
Mrs. Salmon; Harp Obbligato: Mr. BochsaBochsa
From La clemenza di Tito  
Duet, ‘Ah, perdona al primo affetto’
Mrs. Salmon, Signora CamporeseMozart
Cantata, AlexiaMr. VaughanPepusch
DuetSignora de Begnis, Signor de Begnis 
Piano DuetMessrs. J. B. Cramer, MoschelesJ. B. Cramer     & Moscheles
From Judas Maccabæus
Air, ‘From mighty Kings’
Mrs. SalmonHandel
Harp Obbligato FantasiaMr. Bochsa 
Glee for four voices  
‘Oh Nanny, wilt thou gang with me’
Mrs. Salmon, [?], [?], [?]Carter and Harrison
From Il Turco in Italia  
Quintet, ‘Oh! guardate che accidente’
Signora de Begnis, [?], [?], [?], [?]Rossini
Violin ConcertoMr. Kiesewetter 
Principal Vocalists: Signora Camporese, Signora de Begnis, Mrs. Salmon, Miss Stephens; Messrs. Begrez, Sale, Vaughan, W. Knyvett, Signors de Begnis and Placci  
Principal Instrumentalists: Messrs. Bochsa, Cramer, Moscheles, Kiesewetter
Leader: Mr. Franz Cramer, Conductor: Sir George Smart

———————————

Programme Notes: The piano duet performed by J. B. Cramer and Moscheles is the same as the one performed on May 9.

Advertisements

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

17. Mrs. Salmon’s Concert-Argyll Rooms.

The Morning Post (May 13, 1822): 1.

MRS. SALMON’S CONCERT, New Argyll Rooms.—Mrs. SALMON has the honour to announce, that her CONCERT will take place at the above Rooms on FRIDAY next, May 17, under the immediate Patronage of their Royal Highnesses the Duke and Duchess of Clarence. Principal Vocal Performers: Madame Camporese, Madame Ronzi de Begnis, Mrs. Salmon, and Miss Stephens; Mr. Vaughan, Mr. Begrez, Mr. W. Knyvett, Mr. Sale, Signor Placci, and Signor de Begnis. In the course of the Concert (for this occasion only), the Duet for two Grand Pianofortes, Mr. Cramer and Mr. Moschelles, as performed by them with such distinguished applause at the Messrs. Cramer’s Concert on the 9th inst. Fantasia, Harp Obligato, Mr. Bochsa ; and Concerto Violin, Mr. Kiesewetter.—Leader Mr. F. Cramer.  Conductor, Sir George Smart.—Full particulars of the Performance are given in the printed bills, which, with Tickets, Half-a-guinea each, may be had at the principal Music Shops, and of Mrs. Salmon, 22, Old Bond-street, of whom Boxes may be taken, accommodating Parties of Six and upwards. The Concert will commence at half-past Eight.

The Morning Chronicle (May 17, 1822): 1.

MRS. SALMON’S CONCERT, NEW ARGYLL ROOMS.—Mrs. SALMON has the honour to announce, that her CONCERT will take place at the above Rooms THIS EVENING, under the immediate Patronage of their Royal Highnesses the Duke and Duchess of CLARENCE.—Principal Vocal Performers: Madame Camporese, Madame Ronzi de Begnis, Mrs. Salmon and Miss Stephens; Mr. Vaughan, Mr. Begrez, Mr. W. Knyvett, Mr. Sale, Signor Placci, and Signor de Begnis. In the course of the Concert (for this occasion only), the Duet for Two Grand Piano-fortes, Mr. Cramer and Mr. Moschelles, as performed by them with such distinguished applause at the Messrs. Cramer’s Concert on the 9th inst. Fantasia, Harp Obligato, Mr. Bochsa, and Concerto Violin, Mr. Kiesewetter. Leader, Mr. F. Cramer; Conductor, Sir George Smart.—Full particulars of the Performance are given in the printed bills, which, with Tickets, Half-a-Guinea each, may be had at the principal Music Shops; and of Mrs. Salmon, 22, Old Bond-street; of whom boxes may be taken, accommodating parties of six and upwards.—The Concert will commence at half-past eight.

Reviews

The Times (May 20, 1822): 3.

NEW ARGYLL ROOMS.

Mrs. Salmon’s concert took place at these rooms on Friday evening, and was, notwithstanding the counter-attraction at Covent-garden, by his Majesty’s visit to that theatre, so numerously attended, that several persons were obliged to remain in the ante-room, being unable to find even standing places amongst the fashionable crowd which filled the concert room. The female vocalists, besides. Mrs. Salmon, were Madame Camporese, Madame Ronzi de Begnis, and Miss Stephens. The latter sung the only song allotted to her with her usual sweetness; and Madame Camporese, in the duetto “Ah perdona,” shared well-merited applause with Mrs. Salmon. Madame R. de Begnis, in the quintetto “Ah quadrate,” from Il Turco in Italia, and a duetto with Signor de Begnis, was equally pleasing. Mrs. Salmon herself sung several airs, &c. with all that effect which her delightful and highly-cultivated voice is so well calculated to produce. She was particularly happy in the style in which she gave that beautiful air of Handel’s. “From mighty Kings.” “Oh Nanny,” also, she sung very sweetly; as she did the first verse of “ ‘Tis the last rose of summer.” The remaining verse of this melody she sung with variations, with an obligato accompaniment for the harp by Mr. Bochsa, arranged by him expressly for this concert. As a musical composition these variations are clever, but their general expression has no more affinity to the sentiments of the poetry which they accompany, than to those of any other poetry in the English language; the consequence of which is to render them wholly destitute of the power of imparting any pleasurable sensations to the audience. To the lover of genuine harmony, the absence of sympathy between the words and music of a song is as discordant as the want of concord between the accompaniment and the vocal notes to the ear of a mere musician. What can be the effect of giving utterance to sentiments like those in the present melody, plaintive almost: to despondency, in a succession of bold bravuras and flourishing cadences, other than at best to cause the music and words mutually to neutralize each other’s effects, if not to create a jarring sensation by their discordancy? Such as they were, however, they were very admirably executed. The gentlemen also acquitted themselves creditably. The exquisite feeling which Mr. Vaughan threw into his English style of singing his cantata of Pepusch, “Alexia,” afforded a very pleasing relief to the admiration and effect which constitute the eternal objects of the Italian school. Each. Style has its charms, but they are heightened by being blended. Besides the vocal performers, some of the solo instrumental performers received considerable applause: and the evening’s entertainment seemed to have given general satisfaction.

The Quarterly Musical Magazine and Review, vol. IV, (May 1822): 261-262.

MRS. SALMON’S concert was pre-eminent in vocal selection, and she exerted herself with great effect. She sung seven different things in nearly opposite styles, and in one air with variations, “The last rose of summer,” composed for her by MR. BOCHSA, the execution was so excessively difficult, and at the same time surmounted with such facility and precision, that SIR RICHARD BLACKMORE’S solecism can alone describe MRS. SALMON’S perfection—“Nought but herself can be her parallel.” Such indeed is this lady’s beauty of tone, velocity, and delicacy in execution, that she not only stands at the head of the English profession, but is more secure of captivating the senses perhaps than any singer of her time. Here too we heard MR. VAUGHAN’S Alexis, and though we hear heard it so often, it struck upon our ears and satisfied our judgment as the roost perfect performance in any species of vocal execution.

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.]


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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.