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Post by Deleted on Oct 6, 2013 6:24:32 GMT -5
MR. C. POTTER'S CONCERT. [23rd May 1829] WE went to this concert principally to hear as much as was performed of a Sinfonia by POTTER.[1] It is clever - very clever. This is one good effect of the Philharmonic. It has induced our own composers to enter the lists with their German brethren; and the result is, that we no longer labour under the reproach of not being able to produce anything instrumental better than a Drury Lane overture. Goss[2] wrote a very beautiful sinfonia for the Philharmonic; and, as far as we could judge of POTTER'S (for the introduction and first allegro only were played) we should pronounce it worthy of performance by that band. Its chief deficiency is the want of a subject sufficiently melodious to arrest the attention, and capable of imparting its tone and character to the whole movement. In the Sinfonias of MOZART and HAYDN, how completely does the subject tinge the whole of the movement with its original hue, and thus give a unity of colouring to the picture! Mr. POTTER played the first movement of MOZART'S Concerto, No. 7, in C minor. It is well adapted to display his powerful and rapid finger; and his cadenza seized and embodied very happily the prominent points of the allegro. There was nothing new or sttiking in the vocal music. We exhort Miss CHILDE[3] (and we do so because she is a clever and promising singer) to cast PACINI'S music to the bats and the moles. An artist whose taste has been perfected upon good models, may sing this sort of trash with impunity; but if one whose style has yet to be formed takes PACINI for her standard of excellence, she is lost - irrecoverably lost. The room, we were glad to see, was well filled. It shows that talent and character are yet worth something. Among the auditors were an unusual number of the cognoscenti. 1) Cipriani Potter (1792 to 1871) was a London composer, pianist and teacher. "Cip" or "Little Chip," as he was known throughout his life because of his small stature, was widely read, was a mathematician and spoke four languages. He attributed his greatest advances to a five-year period of lessons from May 1805 with Joseph Woelfl, under whom he perfected his technique, memorized Bach's Wohltemperirte Clavier, and learned the principles of form in instrumental music which were then little known in England. Despite acclaim as a pianist, the lack of success of his early works caused Potter to go to the Continent to study composition. He left England towards the end of 1817 and was drawn to Vienna by the presence of Beethoven, whose music he admired despite discouragement from it by his elders. Although he carried letters of introduction, warnings that Beethoven was mad caused Potter to delay approaching him until urged to do so by the piano maker Streicher. Potter was well received at what was an especially troubled time for Beethoven, and he made a good impression which Beethoven conveyed to Ries in a letter of 5 May 1818: "Botter [ sic] has visited me a few times, he seems to be a good fellow and has talent for composition." At Beethoven's suggestion Potter studied counterpoint with Aloys Förster, and Beethoven advised Potter on his scores. After about eight months in Vienna and other Austrian and German cities and a sojourn of similar length in Italy, Potter returned to England in the spring of 1819. From that time until 1836 he appeared often as a soloist, giving the English premières of many Mozart concertos, in which he embellished the printed solo part, and of the First, Third and Fourth Concertos by Beethoven. His piano playing was much admired for its brilliance. He appeared as a conductor of the Philharmonic Concerts until 1844 and won considerable acclaim, always conducting standing, and without a baton. In 1822 Potter was made the first piano teacher for the male division of the newly founded Academy of Music and he continued to teach the piano during his long association with the school. When Bochsa was dismissed in 1827 he was made the director of orchestra practice; it was his custom to insist that all male students play in the orchestra even if they could manage only a few notes. Potter's own concerts, given almost yearly between 1828 and 1846, were among the finest of the season because of his insistence on a "full band" when others would skimp, and the substantial music played. In the later concerts Potter included only a single work of his own, perhaps evidence of a lessening interest in his own music. He was a member of the Bach Society from its inception in 1849 and served as musical director of the Madrigal Society from July 1854 until his death. Potter was said to have begun composing in his 14th year. After 1837 he almost ceased composing. It is to be regretted that he gave up composition so early since at least half a dozen of the symphonies, the G major String Quartet, the Sextet for flute, clarinet, viola, cello, double bass and piano and the three overtures to plays by Shakespeare are masterly. Duties at the academy, the lack of a ready outlet for performances, and his too great admiration for the music of others (he was among the first to admire warmly the music of Schumann and, in his last years, Brahms) caused him to give up writing; he turned instead to the preparation of editions of the music of others, including the complete piano music of Mozart. His greatest achievement lies in the nine extant symphonies. Wagner, who in 1855 conducted the later of the two symphonies in G minor ("no. 10" - there are gaps in the numbering), referred to the composer as an "amiable elderly contrapuntist," and urged a slower tempo on him for the Andante. There are eight concerted works, the five earliest being show-pieces, the last three piano concertos. Other substantial works are the Piano Sonata in D op.3; the "Enigma" Variations op. 5, a preposterous satiric composition "in the style of five eminent artists"; the Three Grand Trios op.12, the last of which is dedicated to Beethoven; the Horn Sonata op.13; and the Studies in All the Major and Minor Keys op. 19, which include expressive as well as virtuoso pieces. 2) Sir John Goss (1800 to 1880) is the only Goss listed in Grove's. But Grove's maintains that "apart from The Serjeant's Wife (1827), which ran over 100 nights, and two overtures, Goss composed only glees and sacred music." So the above-mentioned "very beautiful sinfonia" becomes something of a very beautiful mystery. 3) Anne Childe (who was born in London circa 1809 and expired at New York in 1888) met the bass Arthur Seguin at the R.A.M. and married him around 1831. She sang at the King’s and Drury Lane theatres, and in 1837 sang Anna in an English version of Don Giovanni. She went to the USA with her husband, sang there in opera and assisted in the running of the troupe. |
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Post by Deleted on Oct 6, 2013 7:36:25 GMT -5
Very interesting, Sydney. I should of course clarify that although I am sometimes known as little or kleines c, I have never been called little chip, and I have never come across Cipriani Potter before. The Cipriani is arguably also the best hotel in Venice. There are family reasons why I am naturally called little c, in the sense that there are any number of bigger c's. As for music, of course, there are at least four keys in C. The C major scale (often just C or key of C) consists of the pitches C, D, E, F, G, A, and B. Its key signature has no flats/sharps. Its relative minor is A minor, and its parallel minor is C minor. C major is one of the most common key signatures used in music. Most transposing instruments playing in their home key are notated in C major; for example, a clarinet in B-flat sounding a B-flat major scale is notated as playing a C major scale. The white keys of the piano correspond to the C major scale. Among brass instruments, the more common trumpet is the trumpet in C, and the contra-bass tuba is in C. A pedal harp tuned to C major has all of its pedals in the middle position. C major is often thought of as the simplest key, due to its lack of sharps or flats, and beginning piano students' first pieces are usually simple ones in this key; the first scales and arpeggios that students learn are also usually C major. However, going against this common practice, the Polish composer Frédéric Chopin regarded this scale as the most difficult to play with complete evenness, and he tended to give it last to his students. He regarded B major as the easiest scale to play on the piano, because the position of the black and white notes best fit the natural positions of the fingers, and so he often had students start with this scale. A C major scale lacks black keys and thus does not fit the natural positions of the fingers well. Wikipedia - C majorC minor (abbreviated c or Cm) is a minor scale based on C, consisting of the pitches C, D, E♭, F, G, A♭, and B♭. The harmonic minor raises the B♭ to B♮. Changes needed for the melodic and harmonic versions of the scale are written in with naturals and accidentals as necessary. Its key signature consists of three flats (see below: Scales and keys). Its relative major is E-flat major, and its parallel major is C major. C-sharp minor or C♯ minor is a minor scale based on C♯, with the pitches C♯, D♯, E, F♯, G♯, A, and B. For the C-sharp harmonic minor, the B is raised to B♯. Its key signature consists of four sharps (see below: Scales and keys). Its relative major is E major, and its parallel major is C-sharp major. Changes needed for the melodic and harmonic versions of the scale are written in with accidentals as necessary. C♯ major (or C-sharp major) is a major scale based on C♯, consisting of the pitches C♯, D♯, E♯, F♯, G♯, A♯, and B♯. Its key signature has seven sharps (see below: Scales and keys). Its relative minor is A♯ minor, and its parallel minor is C♯ minor. Its enharmonic equivalent is D♭ major. A harp tuned to C-sharp major has all its pedals in the bottom position.Because all the strings are then pinched and shortened, this is the least resonant key for the instrument. Although most composers prefer to use the enharmonic equivalent D-flat major because it has just five flats as opposed to the seven sharps of C-sharp major, Johann Sebastian Bach chose C-sharp major for Prelude and Fugue No. 3 in both books of the Well-Tempered Clavier. In Hungarian Rhapsody No. 6, Franz Liszt takes the unusual step of changing key from D-flat major to C-sharp major near the beginning of the piece. Maurice Ravel selected C-sharp major as the tonic key of Ondine from his piano suite Gaspard de la nuit. Louis Vierne used C-sharp major for the "Dona Nobis Pacem" of the Agnus Dei of his Messe Solennelle in C sharp minor. Wikipedia - C-sharp majorUpon reflection, I would naturally be tempted by C-sharp minor. Any other preferences?  |
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Post by Deleted on Oct 13, 2013 8:26:55 GMT -5
MR. LINDLEY'S CONCERT. [still from the 23rd of May 1829] Few performers have attained and held for an equal space the reputation which Lindley[1] enjoys. For twenty-five years he can hardly be said to have had a competitor either in England or on the Continent. Some are good orchestra-players, some good concerto-players; some excel in execution, a few in tone; but Lindley combines all these requisites of a first-rate performer. So firm, so steady is he in an orchestra, and so extensive is his musical range, that we would rather (of the two) he should never play another concerto, than that he should vacate his seat as first violoncello in all our first bands. Among these we can no longer class the band of the King's Theatre; which, with the exception of two performers, is below that of Covent Garden. Lindley's professional brethren are always happy to give him their assistance, and his band approached more nearly than that of any other concert the number and excellence of the Philharmonic. We regretted that there was only one full instrumental piece. To be sure that piece was Mozart's Jupiter. It was also a proof of good taste that the honoured name of Corelli[2] appeared in the scheme. Mademoiselle Sontag sung [ sic], in German, the celebrated scena from Der Freischutz; but with much less impassioned feeling than we are accustomed to hear in it from Miss Paton.[3] Her variations on the "Swiss Boy" were merely the exhibition of an instrument; and were less rapid then those of Moscheles[4], and less expressive than those of Lindley. E. Taylor's[5] style of singing Pergolesi's "O Lord have mercy," recalled Bartleman[6] to our recollection. Miss M. Cramer,[7] in "The last rose of summer," showed the good taste which belongs to all her family. There was one singular feature in this concert, Rossini's name did not occur in the scheme. The audience were obliged to content themselves with Mozart, Weber, Pergolesi, and Corelli; and they were old-fashioned enough to be pleased. |
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Post by Deleted on Oct 13, 2013 8:31:19 GMT -5
NOTES:
1) Robert Lindley (Rotherham 1776 - London 1855) was a cellist. When he was just sixteen he was summoned to the Brighton Theatre to deputize for a soloist; his performance apparently caused a sensation and he was engaged by the theatre, where he frequently played before the Prince Regent. In 1794 Lindley succeeded John Sperati as principal cello at the Italian Opera in London and at all the major concerts. Dragonetti joined the Opera the same year and he and Lindley became working companions, sharing a desk at the Opera, the Philharmonic, the Ancient Concerts and provincial festivals for many years. At the Opera they were particularly well known for their accompaniments of recitativo secco, at a time (up to circa 1837) when keyboard instruments were absent from the continuo group.
2) Arcangelo Corelli (1653 to 1713): composer and violinist. Despite the modest size of his output, comprising six collections of instrumental music and a handful of other authentic works, and its virtual restriction to three genres - solo sonata, trio sonata and concerto - he exercised an unparalleled influence during his lifetime and for a long time afterwards.
3) The Scotch soprano Mary Anne Paton (later known as Mrs. Wood) lived from 1802 to 1864. In 1824 she sang Agathe in the first English production of Der Freischütz. That year she married Lord William Pitt Lennox. In April 1826 she created the role of Reiza in Oberon, which established her as a leading singer in London. She divorced Lennox in 1831, and later married the English tenor Joseph Wood. She was acclaimed as the finest English singer of her day.
4) The Bohemian pianist and composer Ignaz Moscheles was born in Prague in 1794, and expired in 1870. He wrote one symphony, eight piano-forte concertos, a string quartette in D minor, and three Erotic Songs.
5) The English bass and writer on music Edward Taylor (Norwich 1784 to Brentwood 1863) was born into a prominent Unitarian family with literary leanings, worked as an ironmonger, and was active in liberal politics as well as amateur musical life in Norwich.
In 1825 he took up music professionally in London, as a concert singer and teacher. Still associated with opposition politics, by 1829 he had become music critic for the weekly Spectator. [We presume that he did not write the present review.] Its didactic, reform-minded tone suited him well, and he wrote there regularly for fourteen years, notably on provincial festivals, the relative merits of Spohr (his friend) and Mendelssohn (whom he thought overrated), and on the importance of earlier music and of amateur music-making. In 1837 he was appointed Gresham Professor, a post he took seriously by giving informed lectures, with musical illustrations, to appreciative general audiences (much of his lecture material is now in the RCM). Not the least of his achievements was the amassing of an important private collection, rich in church music, rare madrigals and motets, French, Italian and English (it was sold in 1863).
Taylor's editorial work, sometimes controversial, was probably more far-reaching than anything else he did. He translated and adapted Spohr's Die letzten Dinge as The Last Judgment in 1830, and thereafter wrote English librettos of Mozart's Requiem (as Redemption), Haydn's The Seasons and other choral works.
6) The English bass James Bartleman (1769 to 1821) was the leading bass of his generation. In 1788, his name first appears as a chorister at the Concert of Ancient Music, but in 1791 he left to become the first solo bass at the newly established Vocal Concerts at Willis's Rooms. He returned to the Ancient Concerts in 1795 as the principal bass singer, and later he was one of the proprietors and conductors of the Vocal Concerts at the Hanover Square Rooms. Ill health forced him to retire from singing by 1819. He was best known for his skill in singing Purcell and Handel, and is credited with transforming the heavy, ponderous style of bass singing to one that was polished and graceful.
7) Miss M. Cramer's name does not appear in Grove's Dictionary.
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