Introduction | | Using these pages | | History of the Project | | Collections | | Acknowledgments | | | Reading Programmes | | | Benefit to Recital, 1790-1914 | | Introduction | | Wilhelm Cramer, 1786 | | J.N. Hummel, 1830 | | Madame Dulken, 1841 | | C.K. Kiesewetter, 1826 | | Nicolò Paganini, 1832 | | Emil Prudent, 1845 | | Emilie Buonzollazzi, 1854 | | Madame Dulken, 1847 | | Franz Liszt, 1840 | | Charles Hallé, 1865 | | Clara Schumann, 1860 | | Anton Rubinstein, 1867 | | Walter Macfarren, 1866 | | Leopold Godowsky, 1902 | | Harold Bauer, 1910 | | Mischa Elman, 1910 | | Fritz Kreisler, 1909 | | Joseph Joachim, 1906 | | | Promenade to Music Hall | | Introduction | | The Pantheon | | Musard and Juliien | | Henry Wood | | Ballad Concerts I | | Ballad Concerts II | | Music Hall | | | The Symphony | | London, 1791 | | Leipzig, 1787 | | Paris, 1782 | | London, 1826 | | London, 1835 | | Leipzig, 1846 | | Crystal Palace, 1857 | | Hereford, 1862 | | London, 1899 | | Richter Concert, 1886 | | London, 1910 | | | Concert Programmes Project | | | | | | CPH Home Page | | | RCM Home Page | | | | |
| | From the Benefit Concert to the Recital, 1800-1914 | Page 2 | | | |
Benefit Concert of Wilhelm Cramer, 28 April 1786 Let us first look at a program given by the eminent violinist Wilhelm Cramer (1746—99) in the Hanover Square Rooms in 1789: Programme 1 Benefit Concert of Wilhelm Cramer, 28 April 1786 | | Overture | Haydn | | Song (Tenducci) | | | Concerto for oboe | Fischer | | Song (Madden) | | | Concerto for violin (new) | Cramer | [Interval] | | | Symphony (new) | J.-B. Cramer | | Sonata for pianoforte | J.-B. Cramer | | Song (Madden) | J. C. Bach | | Quartet for harpsichord | [J.-B. Cramer?] | | Battle Symphony | Raimondi | | | | This data is extracted from the Database of London Concerts, 1750–1800, by kind permission of Simon McVeigh |
Cramer had moved from Mannheim, the great court on the Rhine, to London in 1772, quickly stepping into the middle of musical life. This concert is clearly intended to show off the performing and composing promise of his son Johann-Baptiste Cramer (1771—1858), who was only fifteen years old at the time. The programme design has somewhat more instrumental works than was normal, though one found more in London generally than, say, in Paris or Leipzig. The first 'song' was probably an aria from an Italian opera; the second, done by a British singer, could have been either that or by a British composer or indeed by Handel, whose career defines national categorization. Performance of a sonata was unusual, done here in effect to illustrate the performance skills of the young Cramer. Fig. 1. J.-B. Cramer in old age. Firmin Salabert, Johann Baptist Cramer (1844), pastel portrait (Centre for Performance History, Royal College of Music) |