"Here is the programme of the morning concert above referred to:
NEW ARGYLL ROOMS
MASTER LISZT
Has the honour to inform the Nobility, Gentry, and his
Friends, that his
MORNING CONCERT
will take place at the above rooms on
Saturday, June 9, 1827Part I
Part II
Quartet for Voice, Harp, Piano Forte, and Violin, Miss Stephens, Mr. Labarre, Master Liszt, and Mr. Mori Moscheles and Mayseder Aria, Miss Fanny Ayton, "Una voce poco fa" Rossini Solo, Guitar, Mr. Huerta Huerta Duet, Miss Stephens and Mr. Braham. Song, Miss Love, "Had I a heart." Fantasia, Flute, Master Minasi Master Minasi Song, Miss Grant, "The Nightingale" Crivelli Brilliant Variations on "Rule Britannia," Master Liszt Master Liszt Leader, Mr. Mori Conductor, Mr. Schuncke
THE CONCERT WILL COMMENCE AT HALF-PAST ONE O'CLOCK
PRECISELYTickets, Half-a-Guinea each, to be had of Mr. Liszt, 46,
Great Marlborough Street, and at all the principal
Music Shops.
| Quartet for Voice, Harp, Piano Forte, and Violin, Miss Stephens, Mr. Labarre, Master Liszt, and Mr. Mori | Moscheles and Mayseder |
| Aria, Miss Fanny Ayton, "Una voce poco fa" | Rossini |
| Solo, Guitar, Mr. Huerta | Huerta |
| Duet, Miss Stephens and Mr. Braham. | |
| Song, Miss Love, "Had I a heart." | |
| Fantasia, Flute, Master Minasi | Master Minasi |
| Song, Miss Grant, "The Nightingale" | Crivelli |
| Brilliant Variations on "Rule Britannia," Master Liszt | Master Liszt |
"Thirteen years elapsed before Liszt again favoured us with his presence. He had in the meantime passed from boyhood to manhood, from having been a prodigy to becoming a mature artist. The year was 1840—an important one, as we shall presently see. He appeared, for the first time, at the Philharmonic Concert of May 11, 1840, which was conducted by Sir Henry Bishop. Liszt played his own version of Weber's Concertstück in which, according to a contemporary account, 'passages were doubled, tripled, inverted, and transmogrified in all sorts of ways.' Be this as it may, the Philharmonic Directors showed their appreciation of his performance by a presentation, an account of which appeared in a snappy and short-lived paper called the Musical Journal. Here is the extract:
"'Liszt has been presented by the Philharmonic Society with an elegant silver breakfast service, for doing that which would cause every young student to receive a severe reprimand—viz., thumping and partially destroying two very fine pianofortes. The Society has given this to Mr. Liszt as a compliment for performing at two of its concerts gratuitously! Whenever did they present an Englishman with a silver breakfast service for gratuitous performances?'
"The foregoing is written in the strain which characterised the attitude of a section of the musical press towards the great pianist. His use of the word 'Recitals' appears to have been as a red rag to those roaring bulls. The familiar term owes its origin to Liszt's performances. The late Willert Beale records that his father, Frederick Beale, invented the designation, and that it was much discussed before being finally adopted. The advertisement reads thus:
"'LISZT'S PIANOFORTE RECITALS
"'M. Liszt will give at Two o'clock on Tuesday morning, June 9, 1840, RECITALS on the PIANOFORTE of the following works:—No. 1. Scherzo and Finale from Beethoven's Pastorale Symphony. No. 2. Serenade, by Schubert. No. 3. Ave Maria, by Schubert. No. 4. Hexameron. No. 5. Neapolitan Tarentelles. No. 6. Grand Galop Chromatique. Tickets 10s. 6d. each; reserved seats, near the Pianoforte, 21s.'