Engraving by Edward Dayes
5 January, 1792 – the Public Advertiser
Haydn and Pleyel are to be pitted against each other this season: and the supporters of each are violent partisans. As both these composers are men of first-rate talents, it may be hoped that they will not participate in the little feelings of their respective admirers.
When I look at historical phenomena, I think that what I usually do, since choices are limited, is to visualize them in the context of what I know in my own era. And I would wager I'm not the only one; how many Londoners today have a mental picture of Hanover Square Rooms which looks amazingly like Wigmore Hall? So while it is true that much of what we have come to accept as the "standard concert experience" was indeed developed in London in the 18th century, this is not saying it greatly resembled what we know today.
Here is a 'Notice' from the end of the announcement of the first concert lineup of 1791:
Tickets transferrable, as usual, Ladies to Ladies and Gentlemen to Gentlemen only. The Ladies tickets are Green, the Gentlemen's Black.
The Subscribers are intreated [sic] to give particular orders to their Coachmen to set down and take up at the Side Door in the Street, with the Horses' Heads towards the Square.
The Door in the Square is for Chairs only
Well, OK, there is something which didn't just pop into your head when you thought 'concert'! While I was looking around for material on this, I ran into several descriptions of what a mess the streets of London were due to the 'exhaust' from the limos of the day. A close look at the Hanover Square engraving at top will show my meaning. So, whether it was the Prince of Wales' 2 horsepower Phæton, or the innumerable coaches, carriages and even riding horses, there had to be both clean-up and parking places for them. So please, have your man turn the horses towards the Square, we don't want a traffic jam-up!
The principal Series never missed a chance at advertising. This advert appeared a few dozen times among all the various 'papers in the run-up to première night.
The Morning Herald – 2 February, 1792
Mr. Salomon respectfully acquaints the Nobility and Gentry, that his Concert will open on Friday, the 17th inst., and continuing on the succeeding Friday, upon the same grand scale as last year.
Dr. Haydn, who is engaged for the whole Season, will give every night a New Piece of his Composition, and direct the Performance of it at the Piano Forte.
The principal vocal performers already engaged are, Signor Simoni, (being his first appearance in England,)
And Signor Tarelli [sic], Miss Corri, And Madame Mara, (who is to return by the middle of March;) Besides other distinguished vocal Performers, who will be introduced in the course of the season.
Principal Instrumental Performers, who will alternately perform Solo Concertos and Concertantes, on their respective Instruments, are, - Violin, Messrs. Salomon and Janievicz – Violoncello, Messrs. Menel, Shram, and Damer [sic], - Piano Forte, Messrs. Dussec and Haessler – Oboe, Mr. Harrrington – Flute, Messrs. Graeff and Ash[e], - Clarinet, Mr. Hartman – Bassoon, Mr. Holmes – And Pedal Harp, Mesdames Krumpholtz and Delaval.
Subscriptions at Five Guineas for the Twelve Nights are received, and Tickets delivered at Messrs. Lockhart's, Bankers, No. 36 Pall-mall. Tickets transferable, as usual, Ladies to Ladies, Gentlemen to Gentlemen.
The Ladies' tickets are red, and Gentlemen's blue.
This was another hallmark of the time; they liked to have an even balance of genders, so Ladies to Ladies, &c. was, as they say, 'as usual'.
And finally, it was time! The first Professional Concert of the Season was announced for February 13th:
The Morning Herald - 9 February 1792
The Committee respectfully acquaint the Subscribers, that the FIRST CONCERT will be on Monday next, February the 13th.
Act I
Overture – Haydn
Song – Signor Lazarini
Concert Violin – Mr. Cramer
Song – Mrs. Billington
Grand Symphony, composed for the occasion – Mr. Pleyel
Act II
Concerto Violoncello – Mr. Lindley
Song – Signora Negri
Concerto French Harp – Madame Musegny
Duetto – Signor Lazzarini and Mrs. Billington
Symphony – Mozart
by George Stubbs
I would love to know which Mozart symphony they played, but alas. And just like today, we wait for the reviews to come out in the next few days…
Review: Morning Herald 14 February 1792
The Professional Concert opened last night with its usual éclat, and had such a brilliant train of subscribers as occupied The Room.
The first piece was an overture (Symphony) of Haydn, performed with admirable correctness. Lazzarini sung his favorite air from the opera Armida. Cramer's Violin Concerto exhibited such merit as to enable him to withstand any novelty which might appear against him.
Mrs. Billington gave the beautiful air of Gyrowetz, which she had sung at the benefit for that composer. The First Act concluded with a very fine Overture composed on purpose for this concert, by Pleyel; it abounded with beautiful passages, and was elegant, interesting and scientific…. The Prince of Wales came very early in the evening, and seemed gratified by the exertions of this admirable band.
Well, that all looks very nice. However shall we reply to this? The following Friday, 17 February, the Salomon Concerts premièred in the same venue.
The Oracle, 15 February
Mr. Salomon most respectfully acquaints the Nobility and Gentry, that his first concert will be on Friday next, the 17th instant.
Act I
Overture – Pleyel
Song – Mr. Nield
Concerto Oboe – Mr. Harrington
Song – Signor Calcagni (being his first appearance in this country)
Concert Pedal Harp – Madame Delaval
Song – Miss Corri
Act II
New Grand Overture [M.S.] – Haydn (NB - #93)
Song – Signor Calcagni
Concerto Violin – Mr. Janieviez
Duetto – Miss Corri and Mr. Nield
Finale – Gyrowetz
The doors to be opened at Seven…
What a friendly gesture, the opening salvo by both competitors is a piece by their opponent's leader. Nice.
Has The Times not always been The Times? Here are a couple of reviews of this first concert of the Season, note the quality of these two reviews;
The Morning Herald, 18 February
Mr. Salomon's Concert opened for the Season last night to a very elegant audience. The want of room will not permit us to do justice to the excellence of this concert, which was indeed admirable.
[snip (tiny one)]
The new Grand Overture of Haydn was a composition of very extraordinary merit: and proved that his genius, active as it has been, is as vigorous and fertile as ever.
Contrasted with this:
The Times, 20 February [Highlights]
The First Subscription Concert took place last Friday, Hanover Square.
The established musical judges present all agreed that it went off with surprising effect and rigid exactness. No Band in the world can go better.
A new Overture from the pen of the incomparable Haydn, formed one considerable branch of this stupendous musical tree.
Such a combination of excellence was contained in every movement, as inspired all the performers as well as the audience with enthusiastic ardor.
Novelty of idea, agreeable caprice, and whim combined with all of Haydn's sublime and wonton grandeur, gave additional consequence to the soul and feelings of every individual present.
The Critic's eye brightened with additional luster – then was the moment that the great Painter might have caught – that, which cannot be thrown on the human frame, but on such rare and great occasions.
[snip] The Orchestra under the direction of Salomon, produced an effect, that may with propriety be said, was a soul and body of harmony.
There is some prose to write home about!
Sometimes one forgets that Salomon and Cramer weren't the only competitors for the discretionary guinea. On the same Friday night as the 2nd concert, for example, Handel's Redemption is playing at the Haymarket Theater, and his L'allegro is on in Covent Garden. One has to keep in mind the overwhelming power of Handel over the British public to realize just how strong this competition was. No matter to Salomon and Haydn though, they sold out yet again.
One resemblance of 18th century concerts to modern symphonic series came about with the rise of 'subscription' concerts in the late 1750's. Like a Country Club or Opera membership in the 20th century, a concert subscription, a lavish expense, was a form of ostentatious showing off for one's similarly well-endowed peers. It was a place for displaying the latest fashions and jewelry. Recall how, in 1791, we had this 'article' in the 'paper:
6 January 1791 – Public Advertiser
Musical arrangements for every day in the week, through the winter season
Sunday – The Noblemen's Subscription is held every Sunday at a different House
Monday – The Professional Concert – at Hanover Square Rooms – with Mrs. Billington
Tuesday – The Opera
Wednesday – The Ancient Music at the rooms on Tottenham Street, under the Patronage of their Majesties.
Thursday – The Pantheon. – A Pasticcio of Music and Dancing, in case that the Opera Coalition shall take place; if not, a concert with Madame Mara and Sig. Pacchierotti
Academy of Ancient Music, every other Thursday, at Freemason's Hall.
Friday – A Concert under the auspices of Haydn at The Rooms, Hanover Square, with Sig. David.
Saturday – The Opera
This is the arrangement for each week throughout the season; and so full is the town of eminent professors in every department of the science, that there may be a double orchestra found of admirable performers, so as to open to places of musical entertainment every evening.
If Music be the food of Love, play on,
Give me excess of it; that surfeiting,
The appetite may sicken, and so die.
Shakespeare
Was this scheduling merely a fortuitous accident? No, not at all. It was a concerted (no pun intended) effort to fill up the social schedules of the leisure class, meanwhile maximizing opportunities for them to conspicuously spread their wealth around. Such 'articles' date back to the 1770's, in fact, they were de rigueur by now.
By the 1770's, concert attendance was near the top of the list of social affairs for the moneyed classes. A venue such as the Pantheon was a work of art in itself, thus providing an ideal showcase for fashionistas to rub elbows. All this is not to say that only and all of the upper classes were musically literate, but de facto, they were the trend setters in music because they were the only ones who could afford it. It is one thing to say 'open to the public', but prohibitive pricing rendered it highly unlikely the Bourgeoisie or the hoi polloi would be in attendance. Haydn's own background was such that he was likely oblivious to all this. Prince Esterházy didn't run a for-profit business. For all of Haydn's career, he got paid whether there was anyone or no one at all in the audience, and at Eszterháza, anyone who wasn't otherwise occupied was free to attend the concerts or operas as long as they weren't unduly intoxicated.
None of this goes to say it was all 'see and be seen', and people didn't care what was played, or were simply being led by the nose in whatever direction the promoters or musicians wished them to go. There were quite specific interests which needed to be gratified, and woe betide the careless impresario who neglected them!
The major genres had changed considerably during the course of the century. Early on, vocal music reigned here, as it did throughout Europe. On the instrumental front, the early leaders were the concerto grosso and the French overture. Here again, English taste differed little from French, German or Italian. The main difference was in the type of vocal music preferred. Foreign operas were right out, and foreign oratorios and cantatas and the like were right along with them. But English Oratorios, a genre virtually invented by Handel, lasted well after his death. Such English composers as Arne and Smith and Stanley, who specialized in a rather moralizing, Old Testament-based type of work, remained popular even into the beginning of the 19th century. By 1780, Italian arias finally made it, and the great singers, many Italian imports but many English also, were performing scenas and concert arias to general acclaim.
Second London Notebook
Lord Clermont [Claremont] once gave a large Soupé, and when the King's health was drunk, he ordered the wind band to play the well-known song, "God save the King" in the street during a wild snowstorm. This occurred on 19th Feby 1792, so madly do they drink in England.
It was the steady growth of the symphony which brought instrumental music to preeminence by the 1770's. And symphonies, being mainly a foreign import, perhaps were what opened the door a crack to allow other styles in along with them. But it was another genre which set England further apart from the Continent. The string quartet (and quintet), 'in concert'. Beginning in the mid 1760's and right through the end of the century, the performance of a string quartet was as common in London as it was rare everywhere else. In fact, there is no record of any performance of quartets in concert in Paris, Vienna or elsewhere during this era. The requirements for these quartets were rather specialized though. This is why Haydn's quartets weren't exceedingly popular in the public sphere before he showed up in person; his Viennese 'conversational' style simply didn't translate well to the concert stage, as it was circumscribed in those days. What pleased were works written in the style which the French called quatuor concertante. Characteristic of the quatuors concertante are the alternating solos in the different voices, catchy melodies, and a great ingenuity in detail in melody, harmony and rhythm.
In many ways, they resembled our other popular genre, the sinfonia concertante (SC). One could consider the SC to be a direct replacement for, but not a descendant of, the old concerto grosso. Despite the differences caused by modernization of the music itself, they had many more commonalities: at the most basic level, a structure of two or three movements, and a ritornello, played by the orchestra, with a concertino by the soloists. Another Parisian export, they were very popular right through the end of the century. Finally, it is important to note the paucity of solo works. Although popular in early times, by the late 18th century, it had become nearly impossible to hear a solo sonata, nor an accompanied one for that matter, on the concert stage. These were generally considered to be Hausmusik. Virtuoso players played nothing but concertos or the concertino parts of SC's. And then, they only played their own. You would never hear Dussek, for example, play a Mozart concerto (if he knew one), he would have been quickly hooted off, no matter the quality of the work or the playing.
In the latter half of the century, the other major influence in fashioning taste was, then as now, the newspaper. We have seen, already, how they were used as weapons in the wars being waged on the concert stages of the City. We saw last Autumn how the Professors, chagrined at not getting Haydn to abandon Salomon for their far better financial offer, resumed the war of words in the newspapers, describing Haydn as "written out", "weak", and "incapable of composing anything new". Of course, these words would come back to haunt them, and soon, but it was typical of the way business was done. No doubt, Cramer's allies paid a handsome fee to the editors to have these broadsides published as though they were genuine articles. I have been, and will continue to use the newspaper quotes I run across to show you the style of writing, but also to give a general idea of the potential influence these heavily editorial reviews and announcement had.
One of the most important ways in which the 'papers were used to get the advertising message out was the use of certain 'code' words or phrases to indicate the novelty of a work. I'm sure you have noticed how works are scarcely ever identified. It was generally calculated that the name of the composer or the performer was adequate to inform the cognoscenti of all they needed to know. However, the patrons were quite fickle about whether they would tolerate hearing a piece a second or third time, even one which had been well-received originally. Some pieces could be played every week for a time, and we see then 'by desire' or more strongly 'by particular desire'. Many of Haydn's symphonies received this blessing. Another indication of novelty is M.S. (in manuscript) after the genre. "New Grand Overture, M.S." meant 'you haven't heard this one before!'.
by Gainsborough
Most of these details had been worked out to the satisfaction of the music lovers by the time Haydn finally showed up in London. There were plenty of predecessors, both winners and losers. Among the biggest winners were the (J.C.) Bach/Abel concerts, which ran from 1765 to c.1785. This was one of the first of the subscription concerts, and was successful enough to build the Hanover Square Rooms. They were an 'every Wednesday Night in Season' for two decades, with Bach and Abel alternating the direction duties from week to week. Upon Bach's death in 1782, Abel tried to go it alone for one season, then turned over the reins to Lord Abingdon, who was the very first of the many who tried to bring Haydn to London. We shall see him again.
I hope some of the mysteries of the concert have been illumined now. After last Season, I had a lot of questions myself which demanded explanation. This concert season of 1792 was one of the most successful ever, but certainly not without its struggles. We'll have a look at more of it next time. Wait until you hear some of the music!
Thanks for reading!