Part 1 of this series was originally published in The Clarinet 45/4 (September 2018). Printed copies of The Clarinet are available for ICA members.
The Repertoire for Voice, Clarinet, and Orchestra, or Piano, ca. 1780-1888
Part 2
by Albert R. Rice
For more background information about this topic, please visit Part 1 here.
The purpose of Part 2 of “The Repertoire for Voice, Clarinet, and Orchestra, or Piano, 1780-1888” is to discuss documented performances and clarinetists of 15 of the 28 works for voice, clarinet, orchestra, or piano in Part 1. Reviews of performances of the other 13 works were not found in the newspaper databases, journals, and other primary sources. Important clarinetists who performed are listed with the city and date. Footnotes provide, when known, the venue of the concert, the singer and the source of information. Newspaper reports of playing and singing by specific performers and modern recordings are occasionally given.
Audiences during this time were most interested in hearing skilled and famous singers, such as, Angelica Catalani, Maria Malibran, and John Braham who were paid very well for singing.[1] Reviewers also describe the audience’s appreciation and approval of clarinetists’ obbligato playing. Reviews were included for eight famous clarinetists: Anton Stadler, Johann Simon Hermstedt, Heinrich Baermann, Bernhard Henrik Crusell, John Mahon, Thomas Willman, Joseph Williams, and Henry Lazarus. Each of them were hailed as superb performers who in some concerts rivaled or surpassed the celebrity singer.
A few concert reviews were found by searching in the Allgemeine musikalische Zeitung, other German language publications, and online references to performance citations on library sites, such as, the Bayerisches Nationalbibliothek (Bavarian National Library). The vast majority of concert performances were identified in British newspapers searched in newspaper databases (www.britishnewspaperarchive.co.uk; www.newspapers.com; and the Burney Collection: 17th & 18th Century Newspapers Digital Archive); in journals, reference books, articles, and in published reports of concert series. However, not every concert performed by these clarinetists were advertised or mentioned in newspapers, such as private concerts. By the mid nineteenth century, musical works that include an obbligato clarinet were listed in concert programs but clarinetists were sometimes not mentioned, or replaced with another instrument. When the work was played by a student or amateur, the clarinetist is not always mentioned, and sometimes the obbligato part was incorporated in the piano accompaniment.
Opera performances and concerts cited in the footnotes were held in major European cities such as, Prague, Vienna, Berlin, Munich, Stockholm, Verona, and London. Many concerts were given in London and at several provincial festivals in England. At these festivals, many of the best singers and instrumentalists from London joined local musicians to perform sacred and secular music, and new music, with profits usually going to local charities and hospitals.[2]
Guglielmi’s “Gratias agimus tibi” was the most often performed aria, the obbligato played 151 times by six of the clarinetists from 1810 to 1873. Mozart’s “Parto, parto ma tu ben mio” from La Clemenza di Tito was performed 99 times by eight of the clarinetists from 1791 to 1869. Thomas Willman and Henry Lazarus were the most active obbligato clarinetists, performing with many of the greatest nineteenth century singers. For example, Willman played Mozart’s aria, “Parto, parto ma tu ben mio” 44 times from 1817 to 1839 and Guglielmi’s Gratias agimus tibi 83 times from 1819 to 1840. Lazarus played Guglielmi’s Gratias agimus tibi 36 times from 1840 to 1873 and nine other works from 1840 to 1884. As other newspaper databases in German, French, Italian, and other languages become available, a more complete overview will emerge about the music, composers, clarinetists, and singers.
- Pietro Alessandro Guglielmi. “Gratias agimus tibi,” ca. 1780 (corresponding descriptions of each work are in Part 1).
Clarinetists and performances, in chronological order:
John Mahon, Salisbury, July 12, 1810.[4]
Joseph Friedlovsky, Vienna, July 5-6, 1818,[14] September 22, 1818.[15]
Thomas Willman, London, April 30, 1819,[16] Edinburgh, October 19, 1819,[17] London, June 1, 1821,[18] July 24, 1821,[19] Bath, October 26, 1821,[20] London, June 6, 1822,[21] Reading, August 30, 1822,[22] London, April 18, 1823,[23] York, September 23, 1823,[24] Birmingham, October 8, 1823,[25] Chester, November 12, 1823,[26] London, March 5, 1824,[27] May 20, 1824,[28] Oxford, June 10-11, 1824,[29] Cambridge, July 3, 1824,[30] Salisbury, August 23, 1824,[31] Worcester, September 17, 1824,[32] Norwich, September 22, 1824,[33] Durham, October 6 and 8, 1824,[34] Edinburgh, October 30, 1824,[35] Durham, October 5, 1824,[36] London, February 10, 1825,[37] March 5, 1824,[38] April 11, 1825,[39] April 13, 1825,[40] York, September 16, 1825,[41] Derby, October 7, 1825,[42] London, January 30, 1826,[43] March 1, 1826,[44] April 28, 1826,[45] March 7, 1827,[46] March 12, 1827,[47] May 16, 1827,[48] Oxford, June 28, 1827,[49] Worcester, September 13-14, 1827,[50] Norwich, September 19, 1827,[51] Liverpool, October 5, 1827,[52] Oxford, December 3-4, 1827,[53] London, March 19, 1828,[54] April 1, 1828,[55] April 22, 1828,[56] May 19, 1828,[57] May 21, 1828,[58] Oxford, June 18, 1828,[59] Cambridge, July 1, 1828,[60] Salisbury, August 20, 1828,[61] Ware, August 26, 1828,[62] Derby, September 11, 1828,[63] York, September 24, 1828,[64] Manchester, October 1, 1828,[65] Bury St. Edmund’s, October 10, 1828,[66] London, March 18, 1829,[67] April 2, 1829,[68] April 20, 1829,[69] Cambridge, May 2, 1829,[70] London, June 3, 1829,[71] Chester, September 9, 1829,[72] Birmingham, October 9, 1829,[73] Exeter, October 15, 1829,[74] London, April 28, 1830,[75] Worcester, September 16, 1830,[76] Norwich, September 24, 1830,[77] Liverpool, October 6, 1830,[78] London, May 14, 1831,[79] Darby, November 1831,[80] London, March 14, 1832,[81] Oxford, June 19, 1833,[82] Aberdeen, October 7, 1834,[83] London, November 3, 1834,[84] York, September 8, 1835,[85] London, May 21, 1836,[86] Manchester, September 16, 1836,[87] Worcester, September 29, 1836,[88] Liverpool, October 5, 1836,[89] London, April 21, 1837,[90] May 27, 1837,[91] June 17, 1837,[92] July 1, 1837,[93] Gloucester, September 12, 1838,[94] Birmingham, September 23, 1840.[95]
Joseph Williams, London, March 14, 1820,[96] June 6, 1822,[97] Norwich, October, 16, 1822,[98] Hereford, January 5, 1825,[99] September 8, 1825,[100] September 4, 1828,[101] Gloucester, September 23, 1828,[102] Hereford, October 8, 1832,[103] London, May 16, 1838,[104] April 28, 1841,[105] Worcester, August 27, 1842,[106] London, March 29, 1843,[107] Hereford, September 6, 1843,[108] Worcester, November 8, 1843,[109] London, May 21, 1845,[110] Liverpool, October, 31, 1845,[111] London, May 30, 1848,[112] March 31, 1860.[113]
Bernhard Henrik Crusell, Stockholm, November 3, 1827.[114]
Henry Lazarus, Maidstone, February 12, 1840,[115] London, May 1, 1840,[116] July 28, 1841,[117] Bury St. Edmund’s, December 2, 1841,[118] Newcastle, September 30, 1842,[119] London, April 5, 1843,[120] May 30, 1845,[121] Leicester, October 19, 1853,[122] London, November 2, 1853,[123] Norwich, September 12, 1854,[124] Bury St. Edmund’s, February 23, 1856,[125] Bradford, August 29, 1856,[126] London, December 13, 1858,[127] Bath, December 27, 1858,[128] London, March 14, 1859,[129] Birmingham, September 9, 1864,[130] London, October 1, 1864,[131] Bury St. Edmund’s, October 7, 1864,[132] London, June 7, 1865,[133] Reading, October 11, 1869,[134] Bedford, November 5, 1869,[135] Bradford, December 4, 1869,[136] Dublin, January 13, 1870,[137] Derby, January 14, 1870,[138] London, April 7, 1870,[139] Burslem, September 20, 1870,[140] October 18, 1870,[141] Bradford, October 18, 1870,[142] London, December 7, 1870,[143] Salisbury, October 2, 1871,[144] Cardiff, October 17, 1871,[145] Cambridge, December 11, 1871,[146] Bury St. Edmund’s, December 12, 1871,[147] Norwich, December 13, 1871,[148] Ipswich, December 14, 1871,[149] Norwich, October 6, 1873.[150]
- Wolfgang Amadeus Mozart. “Parto, parto ma tu ben mio” in La Clemenza di Tito, K. 621.
Clarinetists and performances:
Anton Stadler, Prague, September 6, 1791,[151] September 7, 1791,[152] September 30, 1791,[153] Riga, March 5, 1794,[154] Hamburg, November 29, 1794,[155] Vienna, December 29, 1794,[156] Hanover, September 11, 1795,[157] Vienna, April 11, 1797,[158] April 8, 1798,[159] April 27, 1798,[160] September 8, 1798,[161] March 25, 1799,[162] March 31, 1801,[163] April 1, 1803,[164] March 28, 1810.[165]
Johann Stadler, Vienna, March 31, 1795.[166]
Josef Beer (Bähr), Vienna, March 17, 1802.[167]
Johann Simon Hermstedt, Berlin, January 29, 1816,[168] Hildburghausen, March 11, 1819.[169]
Bernhard Henrik Crusell, Stockholm, February 23, 1816,[170] May 11, 1816,[171] March 20, 1819,[172] October 25, 1827,[173] March 7, 1830.[174]
Thomas Willman, London, June 9, 1817,[175] March 1, 1819,[176] Oxford, June 14, 1820,[177] London, March 16, 1821,[178] March 26, 1821,[179] January 28, 1822,[180] May 9, 1822,[181] May 13, 1822,[182] Birmingham, October 8, 1823,[183] Cambridge, November 26, 1822,[184] London, June 2, 1823,[185] June 2, 1824,[186] March 8, 1826,[187] April 17, 1826,[188] March 5, 1827,[189] April 30, 1827,[190] May 4, 1827,[191] June 6, 1827,[192] Leicester, September 7, 1827,[193] Oxford, December 3-4, 1827,[194] London, March 10, 1828,[195] March 18, 1828,[196] May 16, 1828,[197] May 19, 1828,[198] May 21, 1828,[199] York, September 23, 1828,[200] Manchester, October 1, 1828,[201] Bury St. Edmund’s, October 8, 1828,[202] London March 18, 1829,[203] March 27, 1829,[204] April 1, 1829,[205] April 2, 1829,[206] May 11, 1829,[207] May 17, 1830,[208] June 18, 1832,[209] June 22, 1832,[210] June 5, 1833,[211] December 4, 1833,[212] May 1, 1837,[213] March 5, 1838,[214] March 9, 1838,[215] June 5, 1838,[216] June 3, 1839.[217]
Joseph Williams, London, May 4, 1827,[218] Exeter, October 17, 1828,[219] London, May 25, 1840,[220] Worcester, September 15, 1841,[221] London, May 8, 1843,[222] Edinburgh, October 13, 1843,[223] Gloucester, September 26, 1844,[224] London, April 2, 1845,[225] Salisbury, January 20, 1847,[226] London, June 21, 1847,[227] Gloucester, September 22, 1847,[228] Hereford, September 12, 1849,[229] London, April 19, 1852,[230] June 21, 1858,[231] March 10, 1862.[232]
Henry Lazarus, London, April 5, 1854,[233] April 19, 1854,[234] Liverpool, January 27, 1855,[235] London, February 14, 1855,[236] May 3, 1858,[237] July 13, 1858,[238] Hereford, August 24, 1858,[239] London, February 20, 1860,[240] April 3, 1861,[241] June 24, 1861,[242] March 10, 1862,[243] January 1, 1863,[244] April 10, 1863,[245] Gloucester, September 6, 1865,[246] Brighton, September 21, 1865,[247] Worcester, August 29, 1866,[248] Norwich, September 1, 1869.[249]
- Ferdinand Paer. “Una voce al cor mi parla,” in Sargino, ossia l’allievo dell’amore (1803).[250]
Clarinetists and performances:
Anton Stadler (basset clarinet), Vienna, December 22, 1805,[251] (basset clarinet), March 30-31, 1806.[252]
Bernhard Henrik Crusell, Stockholm, February 17, 1810,[253] April 1, 1815,[254] February 2, 1816,[255] May 11, 1816.[256]
Heinrich Baermann, Munich, March 11, 1814,[257] January 26, 1817,[258] Berlin, September 6, 1817,[259] July 11, 1818,[260] Munich, September 20, 1818.[261]
Johann Simon Hermstedt, Hildburghausen, March 11, 1819.[262]
Thomas Willman, London, June 8, 1820,[263] April 17, 1823,[264] May 5, 1823,[265] April 11, 1825.[266]
Joseph Williams, London, April 19, 1841,[267] May 12, 1841,[268] April 17, 1844,[269] June 11, 1845.[270]
- Meyerbeer, Giacomo. “Gli amori di Teolinda,” 1816.[271]
Clarinetist and performances:
Heinrich Baermann, Verona, March 18, 1816,[272] Munich, November 9, 1817.[273]
- Schubert, Franz. “Romance” from Die Verschworenen, oder Der häusliche Krieg, 1823.[274]
First performances:
Clarinetist unknown, Frankfurt am Main, August 29, 1861.[275]
- Crusell, Bernhard Henrik. “Frän Ganges Sköna Stränder,” (From Ganges’ Beauteous Strands), 1820s.[276]
Clarinetist and performance:
Bernhard Henrik Crusell, Stockholm, February 18, 1824.[277]
- Schubert, Franz. “Der Hirt auf dem Felsen,” 1828.
Clarinetists and performances:
Unknown clarinetist, Riga, February 10, 1830.[278]
Anton Friedlowsky, Vienna, March 21, 1830.[279]
Unknown clarinetist and pianist, Berlin, December 14, 1830.[280]
Thomas Willman, London, May 27, 1836.[281]
Joseph Williams, Hereford, September 17, 1852.[282]
Henry Lazarus, London, February 2, 1863,[283] January 23, 1865.[284]
- Cherubini, Luigi. “Offertorium: Ave Maria, gratia plena,” ca. 1830.
Clarinetists and performances:
Thomas Willman, York, September 7, 1835,[285] London, April 25, 1836,[286] Birmingham, September 23, 1837,[287] London, March 22, 1838,[288] May 28, 1838,[289] June 19, 1840.[290]
Joseph Williams, Worcester, September 28, 1836,[291] London, April 29, 1844,[292] June 3, 1850,[293] June 11, 1855.[294]
Henry Lazarus, London, February 18, 1856,[295] November 24, 1862,[296] Dublin, March 30, 1869,[297] London, December 7, 1870,[298] Norfolk, February 22, 1875.[299]
- Panseron, Auguste-Mathieu. “Tyrol qui m’as vu naître,” 1834.
Clarinetists and performances:
Thomas Willman, London, May 8, 1835.[300]
Henry Lazarus, London, June 11, 1857,[301] Norfolk, November 1, 1866.[302]
- Louis Spohr. “Sechs deutsche Lieder,” often only one of the six songs was performed, “The Bird and the Maiden” (“Zweigesang,” no. 2 of the Sechs deutsche Lieder), 1837.
Clarinetists and performances:
Johann Simon Hermstedt,[303] Kassel, February 21, 1840 (nos. 2, 5, 6),[304] Berlin, October 21, 1840 (some lieder),[305] Quedlinburg, August 8, 1841 (two lieder).[306]
Joseph Williams, London, April 27, 1842,[307] Hereford, September 14, 1849.[308]
Henry Lazarus, London, December 7, 1840,[309] Chelmsford, October 18, 1843,[310] London, May 1861,[311] November 25, 1861,[312] Southampton, February 11, 1862,[313] Bury St. Edmund’s, September 25, 1862,[314] London, May 24, 1866,[315] June 18, 1866,[316] March 11, 1867,[317] March 13, 1867,[318] March 1, 1868,[319] Gloucester, September 10, 1868,[320] Dublin, March 29, 1869,[321] London, May 21, 1869,[322] Buxton, August 17, 1869,[323] Southampton, February 12, 1870,[324] London, March 19, 1870,[325] June 10, 1871,[326]Worcester, September 12, 1872 and “Cradle song” (“Wiegenlied” no. 4),[327] Hereford, September 12, 1873,[328] London, February 4, 1874,[329] November 17, 1874 “The bird and the maiden” and “Cradle song” (“Wiegenlied” no. 4),[330] Cardiff, October 30, 1876,[331] London, November 25, 1884.[332]
- Proch, Heinrich. “Schweitzers Heimweh” (“Longing for Switzerland”) for soprano, alto, tenor or baritone with clarinet, op. 38, ca. 1838.[333]
Clarinetist and performance:
Johann Simon Hermstedt, Kassel, February 28, 1840.[334]
- Giacomo Meyerbeer. “Hirtenlied” (“Shepherd’s Song”), 1842.
Clarinetist and performance:
Henry Lazarus, London, January 9, 1860.[335]
- Johann Wenzel Kalliwoda. “Der sennin Heimweh” (“Homesong”), 1857.[336]
Clarinetists and performances:
Joseph Williams, Hereford, September 11, 1846.[337]
Henry Lazarus, London, March 22, 1849,[338] Liverpool, January 20, 1855,[339] London, June 9, 1857,[340] June 10, 1857.[341]
- George Alexander Macfarren. “A Widow Bird,” 1867.
Clarinetist and performances:
Henry Lazarus, London, March 4, 1867,[342] June 25, 1867.[343]
[1] Pippa Drummond, The Provincial Music Festival in Englanddammi, 1784-1914, London: Routledge, 2011, 177, 202.
[2] Drummond, Ibid., 1-3, 14.
[4] Triennial Musical Festival, Cathedral, Angelica Catalani, Salisbury and Winchester Journal, June 18, 1810.
[14] Redouten-Saale and Theater an der Wien, Catalani, “Nachrichten,” Allgemeine musikalisches Zeitung 20 (1818), 522.
[15] Redoutentensaale, Catalani, “Nachrichten,” Allgemeine musikalisches Zeitung 20 (1818), 625.
[16] Ancient Concerts, Eliza Salmon, Quarterly musical magazine and review 1 (1818), 465.
[17] Edinburgh Music Festival, Salmon, Northampton Mercury, October 23, 1819.
[18] King’s Concert Rooms, Hanover-square, Salmon, Morning Post, May 28, 1821.
[19] Westminster Abbey, Violante Camporese, The Times, July 23, 1821.
[20] The Seventh Bath and Somersetshire Grand Musical Festival, Catalani, Abbey Church, Bath Chronicle and Weekly Gazette, October 18, 1821.
[21] Isleworth Church, Miss Goodall, Morning Post, June 3, 1822.
[22] Berkshire Musical Festival, Salmon, Windsor and Eton Express, August 17, 1822.
[23] New Argyll Rooms, Salmon, Morning Chronicle, April 14, 1823.
[24] Yorkshire Grand Musical Festival, Catalani, The Harmonicon, 1 (1823), 150-151; York Herald, September 20, 1823.
[25] Musical Festival, St. Phillips Church, Catalani, Morning Chronicle, October 10, 1823.
[26] First Winter Concert, Royal Hotel, Chester, Catherine Stephens, Chester Courant, November 4, 1823.
[27] King’s Theatre, Concerts Spirituels, Catalani, The Harmonicon, 2 (1824), 78.
[28] King’s Theatre, Haymarket, New Musical Fund, Catalani, Morning Post, May 19, 1824.
[29] Music Room, Town Hall, Catalani, Oxford Journal, June 5, 1824.
[30] Grand Musical Festival, Catalani, Cambridge Chronicle and Journal, July 2, 1824.
[31] Salisbury Musical Festival, Catalani, Salisbury and Winchester Journal, August 23, 1824.
[32] Worcester, Cathedral, Salmon, The Harmonicon 2 (1824), 192.
[33] Norwich Grand Musical Festival, St. Andrew’s Hall, Salmon, The Harmonicon 2 (1824), 203-204; Norfolk Chronicle, September 4, 1824.
[34] Northumberland, Durham, & Newcastle-Upon-Tyne Grand Musical Festival, St. Nicholas’ Church, Catalani, Durham County Advertiser, September 18, 1824.
[35] Musical Festival, Stephens, Caledonian Mercury, November 1, 1824.
[36] Grand Musical Festival, Theatre-Royal, Salmon, Durham County Advertiser, September 18, 1824.
[37] Argyll Rooms, Catalani, The Times, February 7, 1825.
[38] King’s Theatre, Catalani, Quarterly musical magazine and review 6 (1824), 75.
[39] Philharmonic Concert, Stephens, The Harmonicon 3 (1825), 89-90
[40] Ancient Concerts, Miss Wilkinson, The Harmonicon 3 (1825), 89.
[41] Yorkshire Musical Festival, York Minister, Miss Garcia (Pauline Viardot), The Harmonicon 3 (1825), 182-183; Yorkshire Gazette, September 17, 1825.
[42] Derby Triennial Festival, Stephens, The Harmonicon 3 (1825), 225-226.
[43] King’s Theatre, Miss Graddon, Morning Post, January 30, 1826.
[44] The Ancient Concerts, Miss Wilkinson, The Harmonicon 4 (1826), 81.
[45] King’s Concert Room, Hanover-square. Miss Venes, Morning Post, April 28, 1826.
[46] The Ancient Concerts, Caterina Rosalbina Caradori Allan, The Harmonicon 5 (1827), 73-74.
[47] Royal Academy of Music, The Academic Concerts, Mary Anne Paton, The Harmonicon 5 (1827), 77.
[48] Morning Concert, Argyll Rooms, Stephens, Morning Post, May 15, 1827.
[49] St. Mary’s Church, Caradori Allan, The Harmonicon 5 (1827), 206-207; Oxford University and City Herald, June 23, 1827.
[50] Music Meeting, Cathedral, Caradori Allan, The Harmonicon 5 (1827), 205; Worcester Journal, September 13, 1827.
[51] Norwich Grand Musical Festival, St. Andrew’s Hall, Caradori Allan, The Harmonicon 5 (1827), 221-222; Norfolk Chronicle, August 25, 1827.
[52] Liverpool Grand Musical Festival, New Amphitheatre, Guiditta Pasta, The Harmonicon 5 (1827), 224-225.
[53] Music, Room, Stephens, “Concerts at the Two Universities,” The Harmonicon 6 (1828), 19-20.
[54] The Philharmonic Concerts, Caradori Allan, The Harmonicon 6 (1828), 88.
[55] Ancient Concerts, Caradori Allan, The Harmonicon 6 (1828), 117-118.
[56] The Melodists, Miss F. Ayton, Quarterly musical magazine and review 9 (1827), 491.
[57] Argyll Rooms, Madame Schulz, “Benefit Concerts,” The Harmonicon 6 (1828), 143.
[58] Ancient Concerts, Caradori Allan, The Harmonicon 6 (1828), 164.
[59] Music Room, Henriette Sontag, “Oxford Commemoration Concert,” The Harmonicon 6 (1828), 176.
[60] Grand Musical Festival, St. Mary’s Church, Caradori Allan, Stamford Mercury, June 20, 1828.
[61] Salisbury Musical Festival, Caradori Allan, “Salisbury Musical Festival,” The Harmonicon 6 (1828), 192-193.
[62] Ware Musical Festival, Ware Church, Miss M. Cramer, “Ware Musical Festival,” The Harmonicon 6 (1828), 256.
[63] Between the first and second parts of The Messiah, Triennial Musical Festival, All Saints Church, Catalani, “Derby Triennial Festival,” The Harmonicon 6 (1828), 221-222.
[64] Musical Festival, Festival Concert Room, Catalani, The Harmonicon 6 (1828), 244-246; Bury and Norwich Post, September 24, 1828.
[65] Grand Musical Festival Theater, Catalani, The Manchester Guardian, October 4, 1828.
[66] York Grand Musical Festival, St. Mary’s Church, Caradori Allan, The Ipswich Journal, September 27, 1828; Yorkshire Gazette, September 27, 1828.
[67] Ancient Concerts, Caradori Allan, The Harmonicon 6 (1828), 91-92.
[68] Guildhall, Camporese, The Times, April 3, 1829.
[69] Choral Fund Concert, King’s Ancient Concert Rooms, Miss Farrar, London Evening Standard, March 2, 1829.
[70] Concert for the Spitalfields Weavers, Guildhall, Sontag, Cambridge Chronicle and Journal, May 8, 1829.
[71] Ancient Concert, Sontag, The Harmonicon 6 (1828), 172-173.
[72] Music Meeting, Maria Felicità Malibran, London Courier and Evening Gazette, September 10, 1829.
[73] Musical Festival, Michael Costa, Aris’s Birmingham Gazette, October 12, 1829.
[74] The West of England Grand Music Meeting, Malibran, Sherborne Mercury, October 19, 1829.
[75] Ancient Concerts, Paton, The Harmonicon 8 (1830), 259-260.
[76] Music Meeting, Cathedral, Malibran, The Harmonicon 8 (1830), 414-415; Worcester Journal, September 16, 1830.
[77] Norfolk and Norwich Musical Festival, St. Andrew’s Hall, Malibran, The Harmonicon 8 (1830), 463; Norwich Mercury, August 21, 1830.
[78] Musical Festival, St. Luke’s Church, Malibran, The Harmonicon 8 (1830), 465.
[79] King’s Concert Room, King’s Theatre, Miss Lloyd, Morning Post, May 13, 1831.
[80] Musical Festival, Margarethe Stockhausen, The Harmonicon 9 (1831), 270.
[81] Ancient Concerts, Ann Bishop, The Harmonicon 10 (1832), 90-91.
[82] The Commemoration of Founders and Benefactors to the University, Bishop, Oxford Journal, June 22, 1833.
[83] Musical Festival, Stockhausen, Morning Post, October 9, 1834.
[84] Amateur Musical Festival, Madame Garcia, London Evening Standard, November 4, 1834.
[85] Yorkshire Musical Festival, Giulia Grisi, Yorkshire Gazette, September 5, 1835.
[86] Grand Musical Festival, Miss K. Robson, Morning Post, May 20, 1836.
[87] Grand Musical Festival, Malibran De Beriot, Manchester Times, September 17, 1836.
[88] Festival, Caradori Allan, Morning Post, October 1, 1836.
[89] Festival, Caradori Allan, Morning Post, October 7, 1836.
[90] King’s Theatre, Haymarket, Miss Birch, Morning Post, April 21, 1837.
[91] Mr. Begrez’s Annual Morning Concert, Clara Novello, Morning Post, May 26, 1837.
[92] Mr. Parry’s Concert, Caradori Allan, Morning Post, June 5, 1837.
[93] The Nicholson Concert, family benefit, Caradori Allan, Morning Post, July 3, 1837.
[94] Musical Festival, Grisi, Hereford Journal, September 19, 1838.
[95] The Musical Festivals, Caradori Allan, Morning Post, September 24, 1840.
[96] Theatre Royal, Drury-Lane, Grand Selection of Ancient and Modern Music, Goodall, Morning Chronicle, March 15, 1820.
[97] Isleworth Church, Salmon, Morning Post, June 3, 1822.
[98] Music Meeting, Camporese, Norfolk Chronicle, October 19, 1822.
[99] Second Grand Concert, Catalani, Hereford Journal, December 29, 1824.
[100] Music Meeting, Cathedral, Stephens, Hereford Journal, August 31, 1825.
[101] Musical Festival, Cathedral, Caradori Allan, The Harmonicon 6 (1828), 219-221.
[102] Music Meeting, Cathedral, Malibran, The Harmonicon 6 (1828), 271-272.
[103] Miss Woodyatt’s Concert, Concert Room, Shire Hall, Miss Woodyatt, Hereford Times, October 13, 1832.
[104] Ancient Concerts, Bishop, Morning Post, May 17, 1838.
[105] Ancient Concerts, Grisi, Morning Post, April 29, 1841.
[106] Musical Festival, Mrs. W. Loder, Worcestershire Chronicle, August 31, 1842.
[107] Ancient Concerts, Elizabeth Rainforth, London Evening Standard, March 30, 1843.
[108] Meeting of the Three Choirs, Novello, Hereford Times, September 9, 1843.
[109] George Hotel, Mrs. Plummer, Worcester Journal, November 9, 1843.
[110] Ancient Concerts, Caradori Allan, London Evening Standard, May 22, 1845.
[111] Festival Choral Society, Music-hall, Miss Holden, Liverpool Mail, November 1, 1845.
[112] Ancient Concerts, Hanover Rooms, Emma Lucombe, Morning Post, June 1, 1848.
[113] Royal Academy of Music, Miss Rowcroft, Morning Post, April 2, 1860.
[114] Ladugårdslandskyrkan, Catalani, Dagligt Allehanda, November 3, 1827; Dahlström, Bernhard Henrik Crusell, 261.
[115] Maidstone Amateur Harmonic Society, Corn Exchange, Lucombe, South Eastern Gazette, February 18, 1840.
[116] Choral Fund, Hanover-square Rooms, Lucombe, Morning Post, May 4, 1840.
[117] Great Concert-Room, Her Majesty’s Theatre, Miss F. Russell, Morning Post, July 27, 1841.
[118] Mr. Nunn, his Annual Concerts, Miss Button, Bury and Norwich Post, November 24, 1841.
[119] Grand Musical Festival, Birch. “Gratias Agimus was beautifully sung by Miss Birch, and the clarionet obligato by Mr. Lazarus was really grand, the fine tone of the instrument being at times hardly distinguishable from the human voice.” The Times, October 1, 1842.
[120] Hanover-square Rooms, Lucombe, The Observer, April 10, 1843.
[121] Mr. John Parry’s Concert, Hanover-square Rooms, Lucombe, Morning Post, June 2, 1845.
[122] Musical Festival, Mrs. Sunderland, Leicester Chronicle, October 22, 1853.
[123] Exeter-Hall, Birch, Morning Post, November 2, 1853.
[124] The Norfolk and Norwich Eleventh Musical Festival, Jeanne Anaïs Castellan, Norwich Mercury, August 12, 1854. “The Aria—“Gratias Agimus”—was a staple commodity at our Festivals in the days of Willman. It is, in fact, a duet between the voice and clarionet. It was delightfully sung by Madame Castellan, and equally well accompanied by Mr. Lazarus. The tone of both was deliciously sweet, and the consent between the two perfect, notwithstanding the difficulty of execution. Neither should we overlook the effect added to the whole, by the unobtrusive, but master Arpeggios from Mr. Baumann’s bassoon.” Norfolk News, September 16, 1854.
[125] Athenaeum, Lecture Hall, Anna Williams, Bury Free Press, February 23, 1856.
[126] Festival, Miss Milner, Manchester Times, August 30, 1856.
[127] Exeter Hall, Bishop, Morning Post, November 27, 1858.
[128] M. Jullien’s Grand Concerts, Bishop, Bath Chronicle and Weekly Gazette, December 23, 1858.
[129] New Philharmonic, St. James’s Hall, Bishop, The Observer, March 20, 1859.
[130] Musical Festival, Adelina Patti, The Manchester Guardian, September 10, 1864.
[131] Mr. Howard Glover’s First Grand Musical Festival, Drury-lane Theater, Louisa Pyne, Morning Post, October 1, 1864.
[132] Mr. and Mrs. Champion’s Concerts, Miss Champion, Bury and Norwich Post, October 11, 1864.
[133] Herr Willem Coenen’s Matinee Musicale, Madame Shepherd Ley, Morning Advertiser, June 8, 1865.
[134] Assembly Rooms, Madame Thaddeus Wells, Reading Mercury, October 16, 1869.
[135] Grand Popular Concert, Bedford Rooms, Wells, Bedfordshire Mercury, November 6, 1869.
[136] Saturday Evening Entertainments, Wells, Bradford Daily Telegraph, December 2, 1869.
[137] Grand Classical Evening Concert, Wells, Irish Times, January 10, 1870.
[138] The Anemoic Union, Drill Hall, Wells, Derby Mercury, January 19, 1870.
[139] Mr. Henry Leslie’s Choir, St. James’s Hall, Edith Wynne, Daily Telegraph & Courier, March 30, 1870.
[140] Assembly Room, Town Hall, Wells, Staffordshire Advertiser, September 24, 1870.
[141] Grand Evening Concert, Town Hall, Wells, Staffordshire Advertiser, October 8, 1870.
[142] St. George’s Hall, Popular Concert, Wells, Bradford Advertiser, October 18, 1870.
[143] St. James’s Hall, Sims Reeves, Daily Telegraph & Courier, December 7, 1870.
[144] Concert at the Hamilton Hall, Wells, Salisbury and Winchester Journal, October 7, 1871.
[145] Miss Righton’s Concert, Assembly-rooms, Wells, Cardiff Times, October 14, 1871.
[146] Grand Concert, Wells, Cambridge Chronicle and Journal, November 25, 1871.
[147] Grand Concert at the Athenaeum, Wells, Bury and Norwich Post, December 19, 1871.
[148] Hospital Centenary Concert, Mr. Noverre’s Room, Wells, Norwich Mercury, December 16, 1871.
[149] A Grand Concert, Music Hall, Wells, The Ipswich Journal, December 9, 1871.
[150] Grand Miscellaneous Concert, St. Andrew’s Hall, Pauline Rita, Eastern Daily Press, October 7, 1873.
[151] Maria Marchetti Fantozzi, National Theater of Prague, Otto Erich Deutsch, Mozart: a documentary biography, Stanford: Stanford University Press, 1991, 70, no. 190.
[152] Singer unknown, New Mozart Documents: a supplement to O. E. Deutsch’s documentary biography, trans. E. Blom, P. Branscome, J. Noble, Stanford: Stanford University Press, 1991, 170, no. 109.
[153] Singer unknown, Mozart’s letter of October 7-8, 1791 to his wife: “It’s the strangest thing, but the same evening [September 30, 1791] that my new opera was given here for the first time with such applause, Tito had its final performance in Prague, also with extraordinary applause,” trans. in Mozart’s Letters, Mozart’s Life, Selected Letters, ed. Robert Spaethling, New York: W. W. Norton & Co., 2000, 440; Mozart Briefe und Aufzeichnungen Gesamtausgabe, eds. O. E. Deutsch and Wilhelm A. Bauer, Kassel: Bärenreiter, 1962, vol. 4, 157-159, no. 1193; Harald Strebel, Anton Stadler, Wirken und Lebensumfeld des ‘Mozart-Klarinettisten’: Fakten, Daten und Hypothesen zu seiner Biographie, Vienna: Hollitzer, 2016, vol. 2, 16.
[154] Schauspielhause, Mr. Arnold; Pamela Poulin, “Anton Stadler’s Basset Clarinet: Recent Discoveries in Riga,” Journal of the American Musical Instrument Society 22 (1996), 124; Strebel, Ibid., vol. 2, 154, no. 56, in a concert announcement.
[155] Schauspielhause, Therese Beschort, Staats-und Geleherte Zeitung des Hamburgischen unpartheyischen Correspondent, November 29, 1794, concert program, Strebel, Ibid., vol. 2, 128, no. 63, 129, no. 64; Strebel, Ibid., vol. 1, 437-438.
[156] Kärntnerthortheater, Constanze Mozart’s concert performance, singer unknown, Wiener Zeitung, December 24, 1794; Wiener Theater Almanach für das Jahr 1796, XVIII cited in Deutsch, Mozart: A Documentary Biography, 470, 472 and Sue Ann Morrow, Concert life in Haydn’s Vienna: aspects of a developing musical and social institution, Stuyvesant, New York: Pendragon Press, 1989, 286.
[157] Maria Therese Janitsch, Hannoversche Anzeigen, September 11, 1795, reproduced by Strebel, Anton Stadler, vol. 2, 134, no. 68b; Heinrich Sievers, Hannoversche Musikgeschichte: Dokumente, Kritiken und Meinungen, Tutzing: H. Schneider, vol. 1, 318; Heinrich Fink, “Anton Stadler in Hannover,” Die Klarinette, 1 no. 3 (1986), 20, 22.
[158] Burgtheater?, Constanze Mozart’s concert, singer unknown, Wiener Zeitung, April 1, 1797, 1007, cited in Morrow, Concert life in Haydn’s Vienna, 294.
[159] Theater an der Wien, Constanze Mozart’s concert, singer unknown, Vienna, Stadt- und Landesbibliothek, Handschriften Sammlung, “Ignaz Ritter von Seyfried’s Journal des Theaters an der Wien,” and Vienna, Haus- Hof-und Staatsarchiv, “Graf Karl von Zinzendorf Tagebücher, 1760-1813,” cited by Morrow, ibid., 297.
[160] Theater unknown, Constanze Mozart’s concert performance, singer unknown, “The Diaries of Joseph Carl Rosenbaum, 1770-1829,” ed. Elise Radant, Haydn Yearbook 5 (1968), cited by Morrow, Ibid., 297.
[161] Theater an der Wien, singer unknown, Mozart: die Dokumente seines Lebens, ed. O. E. Deutsch, Kassel: Bärenreiter, 1961, 423, cited by Morrow, Ibid., 298.
[162] Theater an der Wien, Constanze Mozart’s concert, singer unknown, Vienna, Stadt- und Landesbibliothek, Handschriften Sammlung, “Ignaz Ritter von Seyfried’s Journal des Theaters an der Wien,” cited by Morrow, Ibid., 301.
[163] Benefit-“Theaterarmen,” singer unknown, March 31, 1801, Österreichsche Nationalbibliothek, Theater Sammlung, Hoftheater Zettel, 1801, cited by Morrow, Ibid., 309.
[164] Jahn’s restaurant, Herr Mayseder, “The Diaries of Joseph Carl Rosenbaum, 1770-1829,” cited by Morrow, Ibid., 318.
[165] Burgtheater, Benefit Theaterarmen, Therese Fischer, Allgemeine musikalisches Zeitung 25 (April 10, 1810), 477, cited by Morrow, Ibid., 214, 359.
[166] Burgtheater, Constanze Mozart’s concert performance, singer unknown, Wiener Zeitung, March 18, 1795, 740, cited by Morrow, Ibid., 287; Deutsch, Mozart: A Documentary Biography, 470.
[167] Hofrath Schupp’s home, Therese Rosenbaum accompanied by Herr Kruft on keyboard, “The Diaries of Joseph Carl Rosenbaum,” cited by Morrow, Ibid., 396; Strebel, Anton Stadler, vol. 1, 18.
[168] Schauspielhaus, Madame Schulz, “Nachrichten,” Allgemeine musikalisches Zeitung 18, no. 7 (February 1816), 104-105.
[169] Kapelle, Dorette Backofen, “Nachrichten,” Allgemeine musikalisches Zeitung 21, no. 29 (July 21, 1819), 495-498.
[170] Kungliga Stora teatern, Marie Jeanette Wässelius, Dagligt Allenhanda, February 22, 1816, Dahlström, Bernhard Henrik Crusell, Klarinettisten och hans större instrumentalverk, Helsingfors: Svenska Litteratursällskapet i Finland, 1976, 258.
[171] Stora Riddarhauassalen, Wässelius, Dagligt Allenhanda, March 20, 1819, Dahlström, Bernhard Henrik Crusell, 258.
[172] Stora Börssalen, Wässelius, Dagligt Allenhanda, March 20, 1819, Dahlström, Bernhard Henrik Crusell, 260.
[173] Kungliga stora teatern, Catalani, Dagligt Allenhanda, October 23, 1827, Dahlström, Bernhard Henrik Crusell, 261.
[174] Kungligla stora teatern, Wässelius, Dagligt Allenhanda, March 6, 1830; Dahlström, Bernhard Henrik Crusell, 261.
[175] Philharmonic Concerts, Salmon, Myles Birket Foster, History of the Philharmonic Society of London 1813-1912, London: John Lane, 1912, 32.
[176] Philharmonic Concerts, singer unnamed, Foster, Ibid., 38.
[177] Grand Musical Festival, Theatre, Thomas Vaughn, Oxford University and City Herald, May 27, 1820.
[178] Vocal Concert, King’s Concert Rooms, Hanover-square, Camporese, Morning Post, March 15, 1821.
[179] Philharmonic Concerts, Salmon, Foster, History of the Philharmonic Society, 50.
[180] New Argyll Rooms, Vaughn, The Times, January 28, 1822.
[181] Great Room, King’s Theatre, Camporese, Morning Post, May 9, 1822.
[182] Philharmonic Concerts, Camporese, Foster, History of the Philharmonic Society, 57.
[183] Musical Festival, Vaughn, Quarterly musical magazine and review 5 (1823), 534-535.
[184] Dr. Clarke Whitfeld’s Three Evening Concerts, Town-Hall, Vaughn, Cambridge Chronicle and Journal, November 22, 1822.
[185] Philharmonic Concerts, Camporese, “Madame Camporese in the rich and passionate air, “Parto, ma tu ben mio,” always shows the greatness of her powers as a singer; it is exactly suited to her study and means. Willman’s accompaniment is not less excellent; he is, without exception, the best clarinet player we have ever heard.” The Harmonicon 1 (1823), 100-101.
[186] Philharmonic Concerts, Camporese, Foster, History of the Philharmonic Society, 65.
[187] Ancient Concerts, Caradori Allan, The Harmonicon 4 (1826), 82.
[188] Philharmonic Concerts, Caradori Allan, The Harmonicon 4 (1826), 106.
[189] Philharmonic Concerts, Stephens, The Harmonicon 5 (1827), 75-76; The Atlas, March 11, 1827.
[190] Royal Academic Concerts, Caradori Allan, The Harmonicon 5 (1827), 122-123.
[191] King’s Concert Rooms, Hanover-square, Caradori Allan, Morning Post, May 2, 1827.
[192] Ancient Concerts, Caradori Allan, The Harmonicon 5 (1827), 145.
[193] Music Festival, Caradori Allan, Morning Post, September 10, 1827.
[194] Music Room, Stephens, Oxford Journal, December 1, 1827.
[195] Philharmonic Concerts, Caradori Allan, Foster, History of the Philharmonic Society, 89.
[196] Ancient Concerts, Caradori Allan, The Harmonicon 6 (1828), 91.
[197] King’s Concert Rooms, Hanover-square, Miss Venes, The Times, May 16, 1828.
[198] New Argyll Rooms, Madame Schutz, Morning Post, May 19, 1828.
[199] Ancient Concerts, Caradori Allan, The Harmonicon 6 (1828), 164.
[200] Musical Festival, Concert Room, Catalani, Yorkshire Gazette, September 27, 1828.
[201] Manchester Theatre, Catalani, The Manchester Guardian, October 4, 1828.
[202] Grand Musical Festival, Caradori Allan, Bury and Norwich Post, October 1, 1828.
[203] Ancient Concerts, Caradori Allan, The Harmonicon 7 (1829), 119.
[204] Covent-Garden Theatre, Miss Farrar, The Times, March 28, 1829.
[205] The Concert of a Committee of Professors, Camporese, The Harmonicon 7 (1829), 119.
[206] Guildhall Theatre, Camporese, The Times, April 3, 1829.
[207] Philharmonic Concerts, Stockhausen, Foster, History of the Philharmonic Society, 97.
[208] Philharmonic Concerts, Malibran, Foster, Ibid., 102.
[209] Philharmonic Concerts, Wilhelmine Schroeder Devrient, The Harmonicon 10 (1832), 152-153.
[210] King’s Theatre, Haymarket, Great Room, Schroeder Devrient, The Examiner, June 17, 1832.
[211] Ancient Concerts, Pasta, The Harmonicon 11 (1833), 153.
[212] London Tavern, Williams, The Times, December 6, 1833.
[213] Philharmonic Concerts, Wood, Foster, History of the Philharmonic Society, 145.
[214] Philharmonic Concert, Clelia Placci, Foster, Ibid., 149.
[215] Hanover-square Rooms, Miss Woodham, Morning Post, March 6, 1838.
[216] Hanover-square Rooms, Placci, The Observer, May 27, 1838.
[217] Philharmonic Concerts, Julie Aimée Josèphe Dorus Gras, Foster, History of the Philharmonic Society, 156.
[218] King’s Concert Rooms, Hanover-square, Mr. Greatorex’s Concert, Caradori Allan, Morning Post, May 3, 1827.
[219] West of England Music Meetings, Royal Clarence Public Rooms, Catalani, Exeter and Plymouth Gazette, October 18, 1828.
[220] Philharmonic Concerts, Caradori Allan, Foster, History of the Philharmonic Society, 162.
[221] Musical Festival, Dorus Gras, Worcester Journal, September 16, 1841.
[222] Philharmonic Concerts, Emma Albertazzi, Foster, Ibid., 179.
[223] Music Festival, New Music Hall, Birch, Caledonian Mercury, October 2, 1843.
[224] Musical Festival, Cathedral, Williams, Gloucester Journal, September 28, 1844.
[225] Ancient Concerts, Sophia Schloss, The Musical World 20, no. 15 (April 10, 1845), 178.
[226] Subscription Concerts, Annie Morgan, Salisbury and Winchester Journal, January 23, 1847.
[227] Ancient Concerts, Dorus Gras, The Times, June 25, 1847.
[228] Musical Festival, Williams, The Times, September 23, 1847.
[229] Musical Festival, Williams, The Times, September 13, 1849.
[230] Philharmonic Concerts, Castellan, Foster, History of the Philharmonic Society, 226.
[231] Philharmonic Concerts, Pyne, Foster, Ibid., 255.
[232] Philharmonic Concerts, Madame G. De Guerrabella, Foster, Ibid., 269.
[233] New Philharmonic Society, St. Martin’s Hall, Elisa Sedlatzek, Morning Post, April 6, 1854.
[234] Hanover Square Rooms, Sophie Ferrari, “Mr. W. H. Holmes’s Concert,” The Musical World 32, no. 16 (April 22, 1854), 271.
[235] Philharmonic Hall, The Last Grand Morning Concert, Miss Ransford, Liverpool Mail, January 27, 1855.
[236] New Philharmonic Society, Exeter-hall, Birch, Morning Advertiser, February 15, 1855; Illustrated London News, February 17, 1855.
[237] New Philharmonic Concerts, Pyne, Morning Post, May 4, 1858.
[238] Royal Academy of Music, Miss Whyte, Morning Advertiser, July 14, 1858.
[239] Musical Festival, Novello, Morning Post, August 26, 1858.
[240] Theatre Royal, Drury-Lane, Hermine Rusderdorff, Morning Post, February 17, 1860.
[241] Vocal Association, Miss Messent, London Evening Standard, April 4, 1861; “Music in Easter Week,” The Times, April 6, 1861.
[242] Mr. Benedict’s Grand Concert, Constance Georgi, Morning Post, June 24, 1861.
[243] Philharmonic Concerts, De Guerrabella, The Times, March 11, 1862.
[244] Queen’s Concert Rooms, Madame Sainville, The Era, January 4, 1863.
[245] Vocal Association, St. James’s Hall, Theresa Ellinger, Morning Post, April 10, 1863.
[246] Musical Festival, Rudersdorff, London Evening Standard, September 7, 1865; London Daily News, September 7, 1865.
[247] Fraülein Melhorn, Brighton Guardian, September 27, 1865.
[248] Musical Festival, Worcester Cathedral, Therese Johanna Alexandra Tietjens, Worcestershire Chronicle, August 22, 1866; Worcester Journal, September 15, 1866.
[249] Norfolk and Norwich Musical Festival, Tietjens, Norfolk Chronicle, July 24, 1869.
[250] Recorded by Victoria Soames Samek with Elizabeth Ritchie, soprano, and Jennifer Purvis, piano, on Gems of the Clarinet, Clarinet Classics, 1993.
[251] Burgtheater, Tonkünstler-Societät concerts, Antonia Campi, “Arie v. Paer (Mad. Campi, acc. V. Stadler auf einem von ihm selbst erdundenen Clarinett.)” Aria by Paer (Campi, accompanied by Stadler on his invented clarinet). Carl Ferdinand Pohl, Denkschrift aus anlass des hundertjährigen bestehens der Tonkünstler-Societät, Vienna: Selbstverlag des “Haydn” (Stadt, Schottenhof), 1871, 67; Morrow, Concert life in Haydn’s Vienna, 334; Strebel, Anton Stadler, vol. 2, 150-151, no. 88.
[252] Tonkünstler Societät, Campi, Pohl, Ibid., 67; March 31, 1806, Strebel, Anton Stadler, program, vol. 2, 154, no. 93.
[253] Opera, Wässelius, Dagligt Allehanda, January 15, 1810; Fabian Dahlström, Bernhard Henrik Crusell: Klarinettisten och hans större instrumentalverk, Helsingfors: Svenska Litteratursällskapet i Finland, 1976, 253.
[254] Kungliga Stora teatern, Wässelius, Dagligt Allehanda, March 29, 1815; Dahlström, Bernhard Henrik Crusell, 257.
[255] Kungliga Stora teatern, Wässelius, Dagligt Allehanda, February 22, 1816; Dahlström, Bernhard Henrik Crusell, 258.
[256] Kungliga Stora teatern, Wässelius, Dagligt Allehanda, May 9, 1816; Dahlström, Bernhard Henrik Crusell, 258.
[257] “Nachrichten,” Helene Harlas, Allgemeine musikalisches Zeitung 16, no. 17 (April 27, 1814), 288.
[258] Hoftheatheater, Harlas, “Nichtpolitische Nachrichten,” Baierisches National-Zeitung 11, no. 16 (January 19, 1817).
[259] “Nachrichten,” Marianne Neumann-Sessi, Allgemeine musikalisches Zeitung 19, no. 38 (September 17, 1817), 655.
[260] Harlass, “Nachrichten,” Allgemeine musikalisches Zeitung 20, no. 33 (August 19, 1818), 597-598.
[261] Hoftheater, Harlas. According to Weston, “A ticket for this performance exists, on which one of her undoubted admirers has written: This was the last time Madame Harlas took part in the opera,” Weston, Clarinet Virtuosi of the Past, 135.
[262] Kapelle, Backofen, “Nachrichten,” Allgemeine musikalisches Zeitung 21, no. 29 (July 21, 1819), 495-496.
[263] New Argyll Rooms, Goodall, program reproduced in Herfried Homburg, Louis Spohr: Bilder und Dokumente seiner zeit, Kassel: Röth Verlag, 1968, 102.
[264] Unknown soprano, Quarterly musical magazine and review 5 (1823), 253.
[265] Philharmonic Concert, Goodall, The Harmonicon 1 (1823), 86; Foster, History of the Philharmonic Society, 64.
[266] Philharmonic Concerts, Stephens, Foster, History of the Philharmonic Society, 74.
[267] Philharmonic Society, Hanover-square Rooms, Caradori Allan, The Times, April 20, 1841.
[268] Grand Morning Concert, Her Majesty’s Theatre, Concert Room, Caradori Allan, Morning Post, May 5, 1841.
[269] Ancient Concerts, Caradori Allan, Morning Post, April 18, 1844.
[270] Ancient Concerts, Caradori Allan, Morning Post, June 12, 1845.
[271] Recorded by Jörg Fadle, clarinet, Julia Varady, soprano, RIAS Kammerchor, Radio-Symphonie-Orchester Berlin, Gerd Albrecht, conductor, CD, Orfeo, 1983; and by Dieter Klöcker, clarinet, Mariana Nicolesco, soprano, Ludwigsburg Festival Chorus and Orchestra, Wolfgang Gönnenwein, CD, Intersound, 1984.
[272] Harlas, “Accademia,” Markus Engelhardt, “Sujetkantate und Opéra Imaginaire: Meyerbeers Gli amori di Teolinda” in Giacomo Meyerbeer: Musik als Welterfahrung: Heinz Becker zum 70. Geburtstage, eds. S. Döhring and S. Schläder, Milano: Ricordi, 1995, 84-86.
[273] Königliches Hoftheater an der Residenz, Harlas, “Miszellen,” Baierisches National-Zeitung 11, no. 295 (November 8, 1817).
[274] Recorded by Dieter Klöcker, ibid., see footnote 271.
[275] Singer unknown, Musikvereinsaal in concert form, Otto Erich Deutsch and Donald R. Wakeling, Schubert: thematic catalogue of all his works in chronological order, New York: E. F. Kalmus, 1970, 218; Franz Schubert Dokumente 1801-1830, Erste Band Texte, Addenda und Kommentar, eds. Ernst Hilmar and Werner Bodendorff, Tutzing: Hans Schneider, 2003, 98, no. 212a.
[276] Recorded by Dieter Klöcker, ibid., see footnote 271.
[277]Opera, singer unknown, Frederik August Dahlgren, Förteckning öfver svenska skådespel uppförda på Stockholms theatrar 1737-1863 och Kongl. theatrarnes personal 1773-1863 : med flera anteckningar, Stockholm: P. A. Norstedt & söner, 1866, P 1482, cited in Dahlström, Bernhard Henrik Crusell, 154, 285, note 91.
[278] Anna Milder, Deutsch and Wakeling, Schubert: thematic catalogue, 965; Franz Schubert Dokumente 1801-1830, Erste Band Texte, Addenda und Kommentar, 432, no. 765c.
[279] Caroline Achten, Albin Pfahler, pianist; Christian Ahrens, “Schuberts Der Hirt auf dem Felsen D 965—Lied, Arie oder ‘Duett’?” in De edition musices: Festschrift Gerhard Croll zum 65. Geburtstag, Laaber: Laaber Verlag, 1992, 163, note 4, program reproduced in Franz Schubert, Dokumente 1817-1830, Erste Band, Texte, 573, dok. 768.
[280] Anna Milder is mentioned in the concert announcement, Berlinische Nachrichten, no. 289 (December 11, 1830) in a lost program, and in a concert announcement, Der Berliner Courier, no. 1164 (December 14, 1830); cited in Franz Schubert Dokumente 1801-1830 Erster Band Texte Addenda und Kommentar, 470-471, nos. 787, 788a, 789. An advertisement for the first publication that mentioned the work was not yet performed but rehearsed by Milder, Felix Mendelssohn, piano and Heinrich Bärmann, clarinet, in Berliner allgemeine musikalische Zeitung 7, no. 43 (October 23, 1830), 343.
[281] King’s Concert Rooms, Hanover-square, Bishop, Morning Post, May 25, 1836. “Mrs. Bishop’s Concert—This lady took her first benefit concert last Friday morning, at the Hanover-square Rooms. Her own performances on the occasion, were, a cantata by Schubert, entitled, ‘The Swiss peasant on the rock’ and in which he was accompanied, in the most charming manner by Mr. Willman.” “Concerts,” The Musical World 1, no. 13 (June 3, 1836), 188.
[282] Musical Festival, Cathedral, Mrs. Endersohn, Morning Post, September 18, 1852.
[283] Monday Popular Concerts, Madame Sainton-Dolby, Bell’s Weekly Messenger, February 7, 1863.
[284] Monday Popular Concerts, Lancia, The Observer, January 29, 1865. “The vocalists were Mademoiselle Florence Lancia and Miss Susan Galton. The former sang Schubert’s dryish song entitled “Le Berger,” the chief point of which is the clarionet obligato, which was admirably played by Mr. Lazarus.”
[285] Musical Festival, Grisi, West Kent Guardian, September 12, 1835.
[286] The Philharmonic, Birch, Bell’s New Weekly Messenger, May 1, 1836.
[287] Musical Festival, Grisi, Morning Post, September 25, 1837.
[288] Mr. Blagrove, third quartett concert, Hanover-square Rooms, Miss Woodyatt, The Times, March 24, 1838.
[289] Societa Armonica, Miss Woodyatt, Morning Advertiser, May 31, 1838.
[290] The Royal Society of Female Musicians, Her Majesty’s Concert-Room, Hanover-square, Miss Woodyatt, Morning Post, June 18, 1840.
[291] Musical Festival, Novello, Worcester Journal, October 6, 1836.
[292] Philharmonic Concerts, Rainforth, Foster, History of the Philharmonic Society, 185.
[293] Philharmonic Concerts, Reeves, Foster, History of the Philharmonic Society, 218.
[294] Philharmonic Concerts, Novello, Foster, History of the Philharmonic Society, 243.
[295] Morning Concert, Hanover-Square Rooms, Mr. Swift, Morning Post, February 14, 1856.
[296] Monday Popular Concerts, Miss Roden, London Evening Standard, November 25, 1862.
[297] Monthly Popular Concerts, Antient Concert Rooms, Miss Fennell, Dublin Evening Mail, March 25, 1869.
[298] St. James’s Hall, Titiens, Daily Telegraph & Courier, December 7, 1870.
[299] Norfolk and Norwich Musical Festival, Anna de Belocca, Eastern Daily Press, September 22, 1875.
[300] King’s Concert Rooms, Hanover-square, Novello, Morning Post, May 6, 1835.
[301] Mr. Charles Coote’s Matinee Musicale, Devonshire-house, Novello, The Times, June 12, 1857.
[302] Norfolk and Norwich Fifteenth Triennial Musical Festival, St. Andrew’s Hall, Rudersdorff, Norfolk News, October 13, 1866.
[303] In 1830, Hermstedt was noted as “Clarinetist in Sondershausen, plays on his instrument in all tonalities with a stirring performance, especially on his tours when accompanying a singer with piano.” “Klar. In Sondershausen, blies surest auf s. Instr. Aus allen Tönen, hat einen ergreifended Vortrag, besonders reisend zur Begl. einer Singst. Am Pf.” Wilhelm Christian Müller, Aethetisch-historische Einleitungen in die Wissenschaft der Tonkunst, Zweiter Theil, Leipzig: Breitkopf und Härtel, 1830, 273.
[304] Hoftheater, Demoiselle Pistor, Allgemeine musikalische Zeitung 42, no. 29 (July 15, 1840), 597-598.
[305] Hoftheater, Demoiselle Dielitz, Allgemeine musikalische Zeitung 42, no. 49 (December 2, 1840), 1011.
[306] Salle des Höfjägers, Fräulein Beenighaus, “Musikfest zu Quedlinburg am 4. Und 5. August d. J.,” Allgemeine musikalische Zeitung 43, no. 34 (August 25, 1841), 684.
[307] Melophonic Society, Miss Cubitt, Morning Post, April 29, 1842.
[308] Musical Festival, Shire Hall, Williams, The Atlas, September 15, 1849.
[309] Islington Amateur Society, Mrs. Severn, The Musical World 261, no. 44 (December 10, 1840), 375.
[310] The Subscription Concert, Miss Dolby, Chelmsford Chronicle, October 20, 1843.
[311] Walter Macfarren’s second concert, Robertine Henderson, Illustrated Times, May 25, 1861.
[312] St. James’s Hall, Piccadilly, Lancia, Morning Advertiser, November 26, 1861.
[313] The Grand Amateur Concert, Miss Bourke, Hamshire Advertiser, February 15, 1862.
[314] Athenaeum Hall, Mr. Nunn’s Benefit Concert, Mrs. Merest, Bury and Norwich Post, September 16, 1862.
[315] Mademoiselle Georgi’s matinée, Morning Post, May 28, 1866.
[316] Mr. Ganz’ Annual Grand Morning Concert, St. James’s Hall, Miss Stabbach, Morning Post, June 16, 1866.
[317] Monday Popular Concerts, Wynne, The Observer, March 17, 1867.
[318] St. James’s Hall, Ada Jackson, London Evening Standard, March 6, 1867.
[319] Monday Popular Concerts, Anna Jewell, The Observer, March 8, 1868.
[320] The Festival of the Three Choirs, Wynne, Bristol Times and Mirror, September 11, 1868.
[321] Monthly Popular Concerts, Antient Concert Rooms, Miss Fennell, Dublin Evening Mail, March 25, 1869.
[322] Signor Marras’ Concert [at] 10, Hyde-park-gate, Beatrice Marras, Morning Post, May 21, 1869.
[323] Mr. Lazarus’ Concert, Wells, Buxton Advertiser, August 21, 1869.
[324] Mr. Alexander Rowland’s Matinee Musicale, Fitzroy House, Miss Lanham, Hampshire Advertiser, February 16, 1870.
[325] St. James’s Hall, Boosey’s Ballad Concerts, Jewell, The Examiner, March 26, 1870.
[326] Hanover-square Rooms, Alice Ryall, Morning Post, June 12, 1871.
[327] Festival of the Three Choirs, College-hall, Titiens, Morning Post, September 13, 1872.
[328] Miscellaneous concert, Wynne, Morning Post, September 13, 1873.
[329] Boosey’s Ballad Concerts, Wynne, The Era, February 8, 1874.
[330] Miss Mott’s Concert, St. James’s Hall, Emily Mott, Morning Post, November 21, 1874.
[331] Miss Righton’s Grand Concert, Mademoiselle Koenig, Western Mail, October 31, 1876.
[332] Miss Alice Aloof’s Concert, Brixton Hall, Marianne Fenna, South London Press, November 29, 1884.
[333] Recorded by Colin Bradbury, clarinet, Eirian James, mezzo soprano, and Oliver Davies, piano, on The Obbligato Clarinet, The Divine Art, 2004; and by Jason Xanthoudakis, clarinet, Elena Xanthoudakis, soprano, and Clemens Leske, piano, on The Captive Nightengale, German Romantic Rarities for soprano, clarinet & piano, Signumrecords.com, 2016..
[334] Hoftheater, Lämmer (baritone), “Nachrichten,” Allgemeine musikalisches Zeitung 42, no. 15 (July 15, 1840), 598.
[335] Monday Popular Concerts, St. James’s Hall, Reeves, London Evening Standard, January 10, 1860.
[336] Recorded by Jason Xanthoudakis, ibid., see footnote 333.
[337] Musical Festival, Shire Hall, Williams, London Evening Standard, September 1846.
[338] Royal Society of Musicians, Ellen Lyon, The Times, March 23, 1849.
[339] Thomas’s Concerts, Ransford, Liverpool Mail, January 20, 1855.
[340] Charles Coote’s Annual Concert, Devonshire House, Sedlatzek, The Atlas, June 13, 1857.
[341] Mademoiselle Sedlatzek’s Concert, Willis’s Rooms, Sedlatzek, Morning Post, June 11, 1857.
[342] Monday Popular Concerts, Wynne, “Both the new songs of our eminent English composer [Mr. Macfarren] have an obbligato accompaniment for clarinet, which it will readily be believed was played in perfection by Mr. Lazarus. The first, a setting of Shelley’s plaintive and exquisite verses, “A widow bird sat mourning for her love,” is somewhat stiff and labored; but the second, to words by T. Heywood (“Pack clouds away”), is a true inspiration that would have done honour to any composer.”, The Times, March 5, 1867.
[343] Mrs. John Macfarren’s “Morning at the Pianoforte,” Miss Banks, John Bull, June 29, 1867.
