Harley Street, Quartett Society
In the early nineteenth century the leading personality who set the tone for London's private musical circles was Thomas Alsagar. Amongst many other interests he was co-owner of "The Times" and in this capacity he edited the music page. For many years he championed musical talent from his home at Queen's Square, Bloomsbury under the auspices of "The Queen's Square Select Society" established in 1830.
Increasingly he became interested in having Beethoven's works performed. This led to the foundation of the "Beethoven Quartett Society". Based at the Beethoven room, 76 Harley Street, it was here between 21st April and 16th June 1845 that the first ever performance in the world of a complete cycle of Beethoven quartets took place. Alsagar's performers were all remarkable musicians, namely Camillo Sivori, Prosper Sainton, Henry Hill and Scipion Rousselot. Programmes were printed for each performance which was limited to an audience of 250. Such was the success of the 1845 event that it became an annual occasion for the next six years.
Hector Berlioz visited London in 1847 and lived in the famous house on 76 Harley Street. He returned in 1850 and 1851 to attend the two final cycles which he described to his French friends in a vibrant account entitled "Letter from London". "I must introduce you to the Beethoven Quartett Society. Its goal is to present at regular rather short intervals all the quartets by Beethoven. An evening's program consists of three such quartets - nothing less and nothing else. They generally belong to each of the composer's three periods; and it is always the last, the one from the last period (remarkable revelation!) which stirs up the greatest enthusiasm. Here you see Englishmen following the composer's flights of imagination with their eyes in miniature scores specially printed in London for the occasion which means that quite a few of them are actually able to read a score (more or less). But I would be wary of these fans' knowledge because glancing over one listener's shoulders I saw his eyes fixed on page 4 while the performers were on page 6...."
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