Edmund Hugh Lindsay Sloper

? Edmund Hugh Lindsay Sloper - Concert Diary

Edmund Hugh Lindsay Sloper - Unforgotten

Lindsay Sloper
	Life Musical Works Concert Diary 1846

Concert Advertisements and Reviews - 1846.

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Saturday, 14 February 1846 : Concert [Date approx] at Paris.

OUR TALENTED COUNTRYMAN, Mr. Lindsay Sloper, being about to visit London, has announced a farewell concert in Paris. This gentleman is a consummate pianist, and what is more, an intellectual and accomplished musician. His studies, in two books, recently published by Wessel and Co., have raised him high in the estimation of the cognoscenti. We understand that he has received an invitation to perform at Mr. Moscheles' first "Matinée Musicale," to take place e [sic] 20th. (The Musical world, Saturday, 14 February 1846)

An English pianist, Mr. Lindsay Sloper, had given a concert in Paris, with success. (Illustrated London News, Saturday, 21 February 1846)

Lindsay Sloper, an English pianist, had given a concert with success at Erard's rooms. He played a duet with Charles Hallé. (London Monthly Times, Tuesday, 24 February 1846)

Mr Lindsay Sloper, an English pianist, has given a concert with success at Erard's rooms. He played a duet with Charles Hallé. (Brighton Gazette, Thursday, 5 March 1846)

Mr. Lindsay Sloper gave a farewell concert previous to his departure from Paris for London. In Mendelssohn's rondo in B minor, and in several compositions by Stephen Heller and himself, this admirable young pianist produced the greatest effect. Mr. Sloper is now settled in London, where he will succeed M. Moscheles in his professional avocations, when that celebrated musician leaves for Leipzig. (Morning Post, Tuesday, 10 March 1846)

Mr. Lindsay Sloper gave a farewell concert previous to his departure from Paris for London. In Mendelssohn's rondo in B minor, and in several compositions.by Stephen Heller and himself, this admirable young pianist produced the greatest effect. Mr. Sloper is now settled in London, where he will succeed M. Moscheles in his professional avocations when that celebrated musician leaves for Leipsic. (The Age, Saturday, 14 March 1846)

Tuesday, 17 February 1846 : Mr. Lindsay Sloper's First Concert in London.

OUR MUSICAL CALENDAR [Compiled expressly for The Musical Standard by Carli Zoeller]. … Feb 17, 1846 - Sloper, Lindsay, pianoforte virtuoso and composer, his first concert in London. (Musical standard, Saturday, 15 February 1879)

Wednesday, 25 March 1846 : Mr. and Mrs. Wessel's Soirée Musicale at their Residence, Albany Street, Regent's Park.

MR. AND MRS. WESSEL'S SOIREE MUSICALE. - On Wednesday last, the second Soirée Musicale was given by Mr. and Mrs. Wessel, at their residence in Albany Street, Regent's Park, to a large assemblage of amateurs, and the elite of the profession. The urbanity and hospitality of the host and hostess detained the company till a late hour. The musical portion of this entertainment was worthy of the known taste of Mr. Wessel in such matters. The following programme will show its excellence and variety. "Leider ohne wrote," C. Horsley, Piano Solo, Mr. Charles Horsley; Song, "If o'er the boundless sky," Molique, Miss Steele; Duet, Piano and Violin, No. 10 in C minor, Beethoven, by Madame Dulcken and Signor Sivori; "La Fontaine de Schubert," Stephen Heller, Piano Solo, Mr. Lindsay Sloper; Third Grand Trio Concertante, for Violin and Violoncello, in A minor, "Op. 124," Spohr, Messrs. F. B. Jewson, Kreutzer, and Hancock; Song, "Spring is Returning," Mendelssohn, Miss Steele accompanied by Mr. Benedict; Song, "On every Tree that blossoms in the Grove," Schubert, Miss Birch; Duo de Salon on Donizetti's "Torquato Tasso," Harp and Violin, Labarre, Miss Richards an amateur and Signor Sivori; Piano, Solo, "La Truite de Schubert," Stephen Heller, Mr. L. Sloper; Violoncello Solo, MS, Hausmann, Mr. Hausmann; Piano, Solo, "Tarantelle," from Studies, Op. 3, and Grand Waltz, in D Flat, entitled "Henriette," Sloper, Mr. Lindsay Sloper; Solo, Harp, Bochsa, Miss Richards. WE need scarcely say that the company were delighted by such music, at the hands of such accomplished artists. With the exception of Spohr's new trio, and the compositions of Mr. Lindsay Sloper and Stephen Heller, all the items of this programme are familiar to our readers. The very great pleasure received from the trio, which was admirably executed, augurs well for its future popularity. Mr. Lindsay Sloper bids fair to become one of the greatest honours to the art in this country. Both as a player and composer he evinces a talent at once original [sic] and sterling, that, fully developed, must lead to great things. Altogether Mr. and Mrs. Wessel's Soirée Musicale of Wednesday night, was one of the most agreeable which we ever attended. (The Musical world, Saturday, 28 March 1846)

Tuesday, 21 April 1846 : The Musical Union's Second Matinée at Willis's Rooms, King-Street, St. James's.

MUSICAL UNION. - WILLIS'S ROOMS, TUESDAY, APRIL 21ST. - Half past Three o'clock. Quartet, D minor, No. 76, Haydn. Trio, D. Op. 70, Pianoforte, Violin, and Violoncello, Beethoven. Quintet, E flat, two Violins, two Violas, and Violoncello, Beethoven. Executants, Messrs. Deloffre, Goffrie, Hill, Nadaud, Pilet, and Lindsey Sloper. J. ELLA, DIRECTOR. No Visitors will be admitted without a ticket. Members are merely requested to leave their names at the door. (The Musical world, Saturday, 18 April 1846)

WILLIS'S ROOMS. THE MUSICAL UNION. The director of this institution, adopting our suggestion, has judiciously transferred the locale of his performances to the large room at Willis's, in King-street, St. James's, where the second meeting took place, yesterday afternoon, in the presence of his Royal Highness the Duke of Cambridge, and a large assemblage of amateurs and professors. The programme commenced with Haydn's quartet in D minor, No. 76, one of the latest and best works of the composer. The allegro, with its rich harmony and masterly counterpoint; the minuetto in canon ; the prettily varied andante, and the quaint and beautiful final rondo, were each rendered with great point by Messrs. Deloffre, Goffrie. Hill, and Pilet. The next item of the programme was the grand trio of Beethoven, in D major. This noble work has long been caviare to the mass of dilettanti, owing as much to its depth of sentiment and mysterious colouring, as to its extreme mechanical difficulty. It demands an equal amount of executive skill and variety of expression on the part of each of the performers. Mr. Lindsay Sloper, M. Deloffre and M Pilet, supplied these desiderata to admiration. Mr. Sloper, a young Englishman, who has for some years resided on the Continent, was originally a pupil of Moscheles, for the pianoforte, and studied harmony and composition under Volweller, the celebrated theorist of Heidelberg. On both these masters he confers the highest honour. His playing is remarkable for exceeding finish of mechanism and unusual purity of style. Though justly distinguished as a solo performer, Mr. Sloper has the secret of accommodating himself, in concerted chamber music, to the exigencies of instrumental combination. In his reading of Beethoven's trio, he studied the composer's ideas rather than the display of his own powers of execution. It was real trio-playing, and there was no undue prominence of any single instrument to mar the effect of the whole. We may remark, en passant, that Mr. Sloper is a composer of distinguished ability, and this may in some degree account for the sensitiveness with which he adhered to the strict interpretation of Beethoven's score. None so well as a composer can know how much is gained by consulting the lights and shadows of expression, and how much is lost by the exaggeration of individual parts of what is intended to be one complete whole. M Deloffre is a violinist who charms more by the delicate neatness of his mechanism, and the unaffected simplicity of his expression, than by those brilliant ad captandum qualities that characterise many of our most eminent performers. M. Pilet, the violoncellist, has a pure and agreeable tone, without extraordinary volume. His mechanism is invariably correct, and his style devoid of assumption. Both these artists are French, and may rank among the best of their school. They zealously entered with Mr. Sloper into the true spirit of Beethoven, and their efforts were equally entitled to the applause which was so liberally accorded by the members and subscribers of the Musical Union. The performances concluded with Beethoven's early quintet, in E flat, which was interpreted with the utmost delicacy. The executants were M. Deloffre, M Goffrie, Mr. Hill, M. Nadaud, and M. Pilet. Though very inferior to the composer's second quintet, in C major, this is one of the best of Beethoven's juvenile productions. The andante in B flat is exquisitely melodious; and the whole work is redolent of a Mozartean spirit, which can never fail of charming the admirers of the present school of instrumental music. We have only one objection to make to Mr. Ella in the construction of his programme While such a composer as Mozart is available, there is neither reason nor excuse for omitting his name from a selection, while two works of another composer are presented. The trio of Beethoven would have been agreeably contrasted with a quartet or a quartet of Mozart. We are delighted to observe the gradual but certain influence of these intellectual reunions. The more such things obtain, the better for art and artists. (Morning Post, Wednesday, 22 April 1846)

MUSICAL INTELLIGENCE. The Musical Union.-The second meeting took place yesterday afternoon, at Willis's Rooms, when the society will congregate for the future. The royal president, the Duke of Cambridge, attended by Major Stephens, was present; as also the Earl of Falmouth, Laird Gerald Fitzgerald, the Countess of Norbury, Lady Rivers, Viscount and Viscountess Adare, Lords Hothum, Trimleston, Sir John Campbell, and about 200 of the c/fie of the fashionable amateurs. Amongst the professors were Sir G. Smart, Mr. Costa, Miss. Masson" Madame Oury, Mr. Wallace, Mr. F. Cramer, M. Rousselot, M. Sainton, M. Plume, Mr. Guynemer, and others distinguished for their love of art. The programme consisted of Haydn's quartet, in D minor. No. 76 ; Beethoven's trio in D major. Op. 70, for pianoforte, violin and violoncello; and Beethoven's quartet in E flat. Op. 4, for two violins, two violas, and violoncello. The executants were-M. Deloffre, first violin; Herr Goffrie, second violin ; Mr. Hill, tenor; M. Nadaud, tenor; M. Pilet, violoncello ; and Mr. Lindsay Sloper, pianoforte. It was M. Deloffre's turn, this time, to take the first violin, who has consented to sustain the second violin for the remainder of the series. He is an admirable artist, with much poetical feeling in his style. He has a defect in manner only, which he may easily correct, and this is, in an undulating swing of his head and body, giving an air of labour to what he really accomplishes with perfect ease. Herr Goffrie has great executive skill, and will in time take a more prominent position. Hill, Nadaud, and Pilet are all accomplished musicians. The début of Mr. Lindsay Sloper was highly successful. He was a pupil of Moscheles, and has studied much abroad. In the difficult Beethoven trio, his classical school was developed most favourably. His touch is delicate, and his execution easy and fluent. His accession may be regarded as enrolling another first-rate executant amongst our native performers. His interpretation of the difficult largo was exquisitely beautiful. He was much applauded by the intelligent auditory, and was complimented by the Royal President. (Morning Chronicle (1801), Wednesday, 22 April 1846)

THE MUSICAL UNION. The second matinée of this society, under the direction of Mr. Ella, took place on Tuesday in Willis's Rooms. The Duke of Cambridge, the president of the society, was present ; and the company, which was more numerous than on any former occasion, was of a very elegant and distinguished description, including many of the most eminent musicians and amateurs, The place of meeting was Willis's Rooms, in place of the Princess's Concert-room, where the previous matinée took place. That room had been engaged for the whole season, but the reverberation of sound or echo in it having been found unfavourable to the effect of the music, Mr. Ella, regardless of the expense of this engagement, has removed the performances to Willis's Rooms. The inconvenience has thus been, in a great measure - though we think not totally - remedied ; for even in the latter room there was some indistinctness produced by the reverberation of sound. This, indeed, will always be the ease in a large public room, when there is a comparatively small assemblage ; and we cannot help thinking that a room of smaller dimensions would have better answered the purpose. This, however, was a trifling drawback front the pleasure of a most admirable performance. The programme, in accordance with the plan of the society, contained only three E pieces; Haydn's quartet in D minor, No. 76 ; Beethoven's trio in D, for the pianoforte, Violin, and violoncello, Op. 70 ; and the same composer's quintet in E flat, Op. 4, for two . violins, two violas, and violoncello. Haydn's quartet is one of the most charming of his works, and has always been an especial favourite among amateurs. The subject of the allegro movement is grand and lofty, and gives rise to a stream of rich and beautiful passages, which seem to flow naturally and almost spontaneously out of it, and yet are the result of the most consummate skill and contrivance. The andante is full of the most elegant melody, the minuetto is a strict canon in the octave, free, bold, and quaint in character ; and the finale is a plaintive little subject, of a Sclavonic cast, exquisitely treated and extended. This quartet was admirably executed by Messrs. Deloffre, Goffrie, Nadaud, and Pilet. In Beethoven's trio, the pianoforte part was played by Mr. Lindsay Sloper, a young pianist of very distinguished talent. He is a pupil of Moscheles, but has since completed his education during a long residence on the Continent, and now appeared in public for the first time in England. He was supported by M. Deloffre and M. Pilet, and we have never heard anything more perfect than. their ensemble. This trio is well known to amateurs, though few of them can venture to attempt it, on account of the immense difficulties it presents, both in style and execution. When executed by artists who know how to interpret the author's bold and most original conceptions, every listener, at all conversant with this high order of music, is able to feel the exquisite beauties with which it is filled, if he will give way to the impressions he may receive from it, without tormenting himself (in German fashion) to find out hidden meanings which the author never dreamed of. Nothing could exceed the attention of the audience; and, at the end of every movement, the profound silence was broken by a burst of hearty applause. When we see a large and fashionable audience assemble, to hear nothing but three long and complicated instrumental pieces, without a note of vocal music ; when we see them listen with such attention, and separate delighted with their entertainment, we cannot but be convinced that the art is really advancing in this country, and that Mr. Ella's spirited exertions are greatly contributing to this advancement. (Daily News, Thursday, 23 April 1846)

… M. Deloffre, first violin; Herr Goffrie, second violin ; Mr. Hill and M. Nadaud, tenors M. Pilet, violoncello; and Mr. Lindsay Sloper, pianoforte. We have no space for analysis, but the execution gave unbounded satisfaction. Mr. Sloper made his debut as a pianist … (Illustrated London News, Saturday, 25 April 1846)

MUSICAL UNION.- M. Ella gave his second performance on Tuesday, April 21, before the Duke of Cambridge and a numerous auditory. The programme was as follows :- Quartet in D minor, No. 76, Haydn. Trio, D major, Op. 70, Pianoforte, Violin, and Violoncello, Beethoven. Quintetto, E flat, Op. 4, 2 Violins, 2 Violas, and Violoncello, Beethoven. The executants were - Violins, M. Deloffre and Herr Goffrie. Viola, Mr. Hill and Mr. Nadaud. Violoncello, M. Pilet. Pianoforte, Mr. Lindsay Sloper. The great feature was the magnificent trio of Beethoven - a work of metaphysical depth and passionate expression, on which we have too often dilated to render further detail necessary. It was beautifully played. M. Deloffre and M. Pilet are artists of the first order - sensible and clever executants, energetic and poetical readers. Young Lindsay Sloper, the pianist, made his debut before a London audience on this occasion. He fully established his continental fame, and at once placed himself in the foremost rank of our native pianists. The great recommendation of our English school of pianoforte playing, of which Sterndale Bennet and W. H. Holmes are striking examples, is its absence of extravagance. In this particular Mr. Lindsay Sloper emulates these great artists, and like them joins to an unaffected style a mechanism as brilliant and perfect as could be desired. His reading of the work was throughout remarkable for that veneration of the mighty author which would not allow an itch for executive display to injure the combination of effect on which the effort of all chamber music of a high order essentially depends. Mr. Lindsay Sloper had energy, passion, force, brilliancy, at command when they were required, and administered them judiciously - but he also had that rarer skill of subduing his tone and calming his expression, when the sentiment of the music demanded that one or both of the other instruments should predominate. In the ensemble it was as though one instrument were at work, so nicely balanced were the gradations of time and the nuances of expression. In short, we never heard a more perfect exhibition of the trio-playing - in its strict meaning. That Mr. Sloper can play solos of any kind of difficulty he has sufficiently established - and his general musical acquirements are known to be of the highest order. He is, therefore, the more to be commended for so far disregarding his natural impetuosity of temperament, as to become essentially one of three, instead of (as is too often the case) the first of three. Thus, the trio was a trio, and not a piano solo with accompaniments for the violin and violoncello. The quartet and quintet went admirably. Mr. Goffrie is a second violin of such merit as would entitle him occasionally to figure as a primo. His style and execution are equally excellent. As for Mr. Hill, we are positively hoarse with singing his praises; he is one of the glories of British executive art - a tenor sans paraeil. M. Nadaud is too well known as a clever artist to need any pleading for his merits. We should have preferred a quintet by Mozart; two long compositions by the same composer, even though that composer be Beethoven, is too much in a miscellaneous concert of three pieces. Mr. Ella's change of locale to Willis's rooms, is a decided change for the better. We have, elsewhere, inserted an extract from the "Record of the Musical Union," wherein the director sets forth its state and prospects of advancement… (The Musical world, Saturday, 9 May 1846)

Thursday, 7 May 1846 : Ignaz Moscheles's Third (Last) Matinée Musicale at 76 Harley-St.

MOSCHELES' LAST MATINEE MUSICALE will take place on THURSDAY next. May 7. at No. 76 Harley-street. when he will have the honour to perform his new duct. Sonata Symphonique, with Mr. Lindsay Sloper, a Selection from D. Scarlatti's work, including the celebrated Cat's Fugue: Mendelsohn's new Trio in C minor, with Messrs. Sainton and Rousselot ; and Beethoven's Grand Sonata Op. 53, . dedicated to Count Waldstein. A few remaining Single Tickets at 15s. each, are to be had of Mr. Moscheles. No. [?], Chester-place, Regents Park. (Morning Post, Saturday, 2 May 1846)

MUSICAL MEMORANDA. M. Moscheles gave his third matinée yesterday. The principal feature of the programme was the sonata symphonique, for two performers on the pianoforte, which was played to perfection by the author and Mr. Lindsay Sloper, Mendelssohn's second trio, for pianoforte, violin, and violoncello, was also played in first-rate style by Mr. M. Moscheles, Sainton, and Rousselot. The solo pieces introduced by M. Moscheles were selections from the harpsichord work of Domenico Scarlatti, including the well-known movement in G minor, denominated the "cat fugue," and Beethoven's magnificent sonata in C major, dedicated to the Count de Waldstein. The rooms were crowded on the occasion. (Morning Post, Friday, 8 May 1846)

MR. MOSCHELES'S MUSICAL MATINEES.- The third and last of these musical entertainments took place yesterday, and was attended by a numerous audience. The performances commenced with the "Sonate Symphonique" for two performers on the piano, the latest composition of Mr. Moscheles. The praises of continental critics have been lavished on this work, and they are fully justified by its merits. It is constructed on a large and well developed plan, the subjects are striking and new, and the details remarkable for ingenuity and scholarship. The executants were Mr. Moscheles and Mr. Lindsay Sloper, a young English musician of very distinguished ability. The performance was as near as possible to perfection. The scherzo, a movement of great originality and fancy, was warmly encored. Mr. Moscheles then played a selection from the works of Domenico Scarlatti, a contemporary of Bach, and one of the composers of that period whose works have survived. Among the pieces selected was the celebrated "Cat's Fugue" in G minor, a work as remarkable for the eccentric originality of the subject as for its masterly treatment. Mendelssohn's second trio in C minor followed, and was rendered in first-rate style by Messrs. Moscheles, Sainton, and Rousselot. The scherzo in G minor was encored. This trio, though less complete a work than the first trio in D minor by the same composer, the first movement and andante, the latter especially, being greatly inferior, must still rank among Mendelssohn's best efforts. The scherzo and finale are perfect. The matinée ended with the brilliant sonata in C major of Beethoven (Op. 56), one of the few bravura pieces he produced. It was admirably executed by Mr. Moscheles. (The Times, Friday, 8 May 1846)

M. Moscheles gave his third matinée on Thursday. The principal feature of the programme was the sonata symphonique, for two performers on the pianoforte, which was played to perfection by the author and Mr. Lindsay Sloper. Mendelssohn's second trio, for pianoforte, violin, and violoncello, was also played in first-rate style by Mr. M. Moscheles, Sainton, and Rousselot. The solo pieces introduced by M. Moscheles were selections from the harpsichord works of Domenico Scarlatti, including the well-known movement in G minor, denominated the "cat-fugue," and Beethoven's magnificent sonata in C major, dedicated to the Count de Waldstein. The rooms were crowded on the occasion. (The Age, Saturday, 9 May 1846) (Also: English Gentleman, Saturday, 9 May 1846.)

MOSCHELES. Mr. Moscheles gave his third and last matinée on Thursday at the rooms in Harley-street, before an audience numerous and intelligent. We insert the programme: Moscheles' New Duet, Sonate Symphonique, (Op. 112), dedicated to His Majesty Louis Philippe, King of the French, performed by the author and Mr. Lindsay Sloper; Selection from Domenico Scarlatti's Works; Mendelssohn's New Trio in C minor, (Op. 66,) for Pianoforte, Violin, and Violoncello, performed by Messrs. Moscheles, Sainton and Rousselot; Beethoven's Grand Sonata, (Op. 53,) dedicated to Count Waldstein; the Pianoforte, Erard's Grand Patent. Mr. Moscheles, as usual, displayed all the characteristics of a great classical pianist. His conception of Mendelssohn's superb trio was full of imagination; his execution of the difficult Sonata do bravura of Beethoven* was brilliant and magnificent; and his reading of the quaint caprices of old Scarlatti was full of healthy vigour and sparkling animation. His own great composition, the Sonate Symphonique, was coloured with that high poesy and deep sentiment which no pianist employs more happily than Mr. Moscheles. He was seconded - and admirably seconded - by his accomplished young pupil, Lindsay Sloper, who promises to become one of England's most distinguished musicians. In the trio of Mendelssohn, Mr. Moscheles was backed by the powerful aid of MM. Sainton and Rousselot, two executants incomparable in their particular departments. The Scherzo à la Tedesca Antica, a movement overflowing with originality, in the Sonate, and the G minor Scherzo in the trio of Mendelssohn, were both encored with enthusiasm. At the foot of the programme, Mr. Moscheles announces for Wednesday, June 17, his GRAND FAREWELL CONCERT, for vocal and orchestral compositions, in the Hanover Square Rooms. So interesting an event can hardly fail of inducing the presence of every amateur and artist of distinction in the country, who will thereby be able to testify his regard for the admirable musician who is about to quit us forever. The influence of Mr. Moscheles' sojourn amongst us has been of such unquestionable benefit to the art, of which he is one of the most brilliant ornaments, and one of the most honourable and candid followers - his character as a man, no less than an artist, has won for him such high and unanimous esteem, that we are sure our zealous fellow-artists will not allow him to depart, without offering him some token of their feelings towards him, which may serve as a grateful memorial of his residence in England, and as a guarantee that the country which was so long adopted by him is not deficient in gratitude for undeniable benefits conferred, in respect for a great and conscientious artist, and in esteem towards a worthy and amiable man. *This, and the one in F minor (Op. 57,) are the only attempts of Beethoven in the bravura style. (The Musical world, Saturday, 9 May 1846)

Friday, 29 May 1846 : Mr. J. Ella's Private Soirée [Date Approx].

MADAME PLEYEL. - At a private soirée, given by Mr. Ella to about fifty of the nobility, and two or three musical professors, we had the pleasure of hearing this great pianist in one of the sonatas of Beethoven, for pianoforte and violin, which she performed with M. Vieuxtemps, in such exquisite style as to elicit the most unbounded demonstration of satisfaction. We never listened to a more perfect combination of two instruments. Madame Pleyel also played one of her brilliant solos, in which her extraordinary powers of mechanism were fully demonstrated. There were other performances during the evening, viz. :- Mendelssohn's Duet for pianoforte and violoncello, in D major, capitally performed by Mr. Lindsay Sloper and Signor Piatti, and several vocal morceaux, which developed a beautiful voice and a style of great fervour in Mdlle. Vera, a young vocalist who is engaged to sing at Madame Pleyel's second recital; she was elegantly accompanied on the piano by her brother, M. Vera, a musician of considerable eminence in his own country. (The Musical world, Saturday, 30 May 1846)

Friday, 12 June 1846 : Mr. John B. Cramer's Matinée Musicale at Hanover-Square Rooms.

MR. JOHN CRAMER'S MATINEE MUSICALE.- Mr Cramer who, to the great misfortune of English music, has long retired from the exercise of his profession, and ceased to reside in London, where he is at present only on a visit, yesterday gave a treat to the lovers of music, such as they have not enjoyed for many a day. He has employed his hours of leisure in arranging pieces for the pianoforte, a number of the most beautiful quartets of Haydn, Mozart, and Beethoven; and a large assemblage of amateurs, assembled yesterday morning in the Hanover-square Rooms to hear several of them executed by himself. As a pianist, we have always considered this illustrious veteran, in many essential respects, absolutely unrivalled. With him, notwithstanding his immense powers of execution, the pianoforte was an instrument which "discoursed most eloquent music," not a machine for the display of manual dexterity. A quarter of a century ago, a musical writer of the highest eminence characterised his style in language which is as appropriate as ever. " As a performer on the pianoforte," he says, " Cramer is unrivalled ; and we may perhaps venture to add, every professor unreluctantly yields to him the palm. His brilliancy of execution is astonishing ; but this quality, which is in fact purely mechanical, amounts to little or nothing in the general estimate of such merits as his; taste, expression, feeling, the power that he possesses of almost making the instrument speak a language, are the attributes by which he is so eminently distinguished. The mere velocity of manual motion -those legerdemain tricks which we are now and then condemned to witness - may entrap the unwary; the physical operation of sounds, whose rapidity of succession is incalculable, may be necessary to stimulate the indurated tympanums of some dull ears; but those who love to have their sympathies awakened by the eloquent music which this instrument may be made to discourse - who derive any pleasure from the most social and innocent of the fine arts, and who would gain the practical advantages of an instructive lesson by listening to a delightful performance - such persons should seize every opportunity of hearing John Cramer." The performance of yesterday commenced with a duet for two pianofortes, composed by himself, and performed by him and Mr. Lindsay Sloper, a young pianist, who was, we believe, his pupil, and who possesses a kindred genius. It was admirably executed, and delighted every one by the purity, clearness, and delicacy of its style. Mr. Cramer then performed three of the finest quartets of Mozart, Haydn, and Beethoven, which, since public quartet-playing has become so much in vogue, we have been in the habit of hearing played by the finest performers on the violin, viola, an violoncello, that London can produce. And yet, so perfectly did Mr. Cramer preserve the original effects of the composers in transferring them to his own instrument-so sustained and liquid were his tones - so clear and distinct the movement of every part of the harmony-so graceful and vocal his cantabile passages - and so earnest and fervid his expression-that these quartets had, in many places, a charm which even the Sivoris and Saintons, the Rousselots and Hills, were scarcely able to give them. They can only approach the semblance of that which Cramer gave in reality-the conceptions of the composer realized by one congenial mind. These beautiful arrangements, we believe, are about to be published; and, we trust, will find their way to the pianofortes of our musical ladies, who, by studying them, will acquire sound notions of the true character of pianoforte music, and, by playing them, will render their instrument the delight, instead of what it is too often at present, the annoyance of their friends. M. Cramer concluded by performing, along with Messrs. Barret, Lazarus, Baumann, and Puzzi, Mozart's lovely Quintet, in E flat; a piece with which, in the olden time, he used to "enchant the world," and which was now listened to with greater delight than ever. Among the numerous eminent musicians who listened to Cramer on this occasion, none expressed his pleasure with greater warmth and earnestness than his old but friendly rival, Moscheles. Compared with music such as this - music which, coming from the heart, reaches the heart -how cold and insipid are the fantasias, variations, and all the feats of manual dexterity which constitute the modern school of pianoforte playing! (Daily News, Saturday, 13 June 1846)

HANOVER-SQUARE ROOMS MR. J. B. CRAMER. The influence which the above-named admirable pianist and composer, has had upon the art of pianoforte playing entitles him to occupy a high place among those to whom art is indebted for that stimulus which ultimately induces progress. Mr. J. B. Cramer figures conspicuously among the great generators of modern pianism. We find him with Steibelt. Woelfl, Clementi, and Dussek, at the close of the last, and the beginning of the present century, labouring hard to enrich the repertoire of the piano with works of sterling and classical merit, and to refine the taste of executants by his own pure and masterly performances. Among the illustrious galaxy of names, not one shone brighter than that of Cramer : whether we regard him as a pianist or as a composer, he has equal claims upon our admiration. As an adagio player, Cramer has served as a model to pianists for nearly half a century, and for more than thirty years Cramer's "Studies" have been their text-book -what greater glory could a pianist wish ? It is most delightful to behold this venerable priest of art, now in his seventy-fifth year, as healthy, vigorous, and enthusiastic as a youth of twenty summers. Such was Cramer yesterday, when he summoned a select circle of his friends and admirers to the Hanover-square Rooms, for the purpose of playing before them some of his recent pianoforte adaptations of the quartets of Haydn, Mozart, and Beethoven, with a composition of his own for prologue, and a quintet of Mozart for epilogue. But let us cite the programme - PART I. Duet for two grand pianofortes. Messrs. Lindsay Sloper and J. B. Cramer [Cramer]; Quartet in D Minor No. 2 [Mozart]; Quartet in B Flat [Haydn]. PART II. Quartet in A, No. 5 [Beethoven]; Quintet for pianoforte with accompaniments for [?] clarinet, bassoon and French horn, Messrs. J. B. Cramer, Barret, Lazarus, Baumann and Puzzi [Mozart] The opening duet- in which the veteran pianist was most admirably assisted by our countryman, Mr. Lindsay Sloper, a very accomplished musician, and one worthy of the distinction conferred upon him by Mr. Cramer- is an early composition, with the exception of the finale, which was written last March, and replaces the old movement. The andante in C major is melodious and charming; the new finale, fresh and spirited. The arrangements of the quartets are to be commended, as short roads to the acquirement of a knowledge of a species of composition in which the great masters much delighted and eminently excelled. Of course the musician, or the instructed amateur, would prefer hearing the stringed instruments, or in default of these, perusing the score, but how many are there who have not the opportunity …[indecipherable] …The slow movement in the Beethoven quartet was about the most expressive performance to which we ever listened, grace, energy, passion, think all were there to make it perfect - it was John Cramer in his prime. The quintet of Mozart was capitally performed on all hands. The concert was altogether a demonstration of the high esteem in which Mr. Cramer is held by every artist of feeling and judgment. Many of our most distinguished performers were present, and the enthusiasm was unanimous. (Morning Post, Saturday, 13 June 1846)

MR. J. B. CRAMER'S CONCERT.- A large audience of pianoforte amateurs assembled in the Hanover-square Rooms, to hear this celebrated professor perform a selection of quartets from the great masters, which he has adapted for the instrument of which he is so accomplished a master, and towards the progress of which he has effected so much. Mr. Cramer played three quartets entire, that of Haydn in B flat, that of Mozart in D minor, and that of Beethoven in A. from Op. 18. His reading of the slow movements was the theme of general admiration; nevertheless it is necessary to premise that such adaptations are only useful for amateurs who are unable to read the original scores, and are perfectly ineffective as exhibitions of pianoforte playing, nor are at all fit for public performance. Mr. Cramer would have done more wisely had he performed a single movement from each as specimens of his arrangements, and the rest of the programme might have been devoted to selections from his own compositions. The quartets were preceded by a duet for two pianofortes, in which Mr. Cramer was efficiently assisted by Mr. Lindsay Sloper, a young but highly talented and accomplished musician, and one of our best native pianists. A quintet of Mozart for pianoforte and wind instruments, in which Mr. Cramer sustained the pianoforte part, terminated the concert. Under all circumstances it was no small source of gratification to the lovers of the art present to listen once more to a pianist who was contemporary and shared the celebrity of Steibelt, Woelfl, Dussek Clementi and whose admirable studies have formed the text-book of pianoforte students for the last 30 years. (The Times, Tuesday, 16 June 1846)

Among the most interesting events of the season was the seana musicale of Mr. J. B. CRAMER, which took place, before a select audience, in the Hanover-square Rooms, on Friday morning, June 12. The influence which this admirable pianist and composer has had upon the art of pianoforte playing entitles him to occupy a high place among those to whom art is indebted for that stimulus which ultimately induces progress. Mr. J. B. Cramer figures conspicuously among the great generators of modern pianism. We find him with Steibelt, Woelfl, Clementi, and Dussek, at the close of the last, and the beginning of this present century, labouring hard to enrich the répertoire of the piano with works of sterling and classical merit, and to refine the taste of executants by his own pure and masterly performances. Among the illustrious galaxy of names, not one shone brighter than that of Cramer ; whether we regard him as a pianist or as a composer, he has equal claims upon our admiration. As an adagio player, Cramer has served as a model to pianists for nearly half a century, and for more than thirty years Cramer's "Studies" have been their text-book - what greater glory could a pianist wish ? It is most delightful to behold this venerable priest of art, now in his seventy-fifth year, as healthy, vigorous, and enthusiastic as a youth of twenty summers. Such was Cramer, when he summoned a select circle of his friends and admirers to the Hanover-square Rooms, for the purpose of playing before them some of his recent pianoforte adaptations of the quartets of Haydn, Mozart, and Beethoven, with a composition of his own for prologue, and a quintet of Mozart for epilogue. But let us cite the programme PART I. Duet for two grand pianofortes, Messrs. Lindsay Sloper, and J. B. Cramer - Cramer Quartet in D minor (No. 2) - Mozart Quartet in B flat - Haydn PART II. Quartet in A (No. 5) - Beethoven Quintet for pianoforte, with accompaniments for hautboy, clarionet, bassoon, and French horn, Messrs. J. B. Cramer, Barret, Lazarus, Baumann, and Puzzi - Mozart The opening duet-in which the veteran pianist Cramer. Mozart. Haydn. Beethoven. Mozart. was most admirably assisted by our countryman, Mr. Lindsay Sloper, a very accomplished musician, and one worthy of the distinction conferred upon him by Mr. Cramer - is an early composition, with the exception of the finale, which was written last March, and replaces the old movement. The andante in C major is melodious and charming; the new finale fresh and spirited. The arrangements of the quartets are to be commended, as short roads to the acquirement of a knowledge of a species of composition in which the great masters much delighted and eminently excelled. Of course, the musician, or the instructed amateur, would prefer hearing the stringed instruments, or, in default of these, perusing the score; but how many are there who have not the opportunity to do the one or the skill to effect the other! From such persons, then, Mr. Cramer is entitled to gratitude; he has given them the means of knowing what is well worth their knowing, but which they might never have known, but for the facility he has afforded them. Most of these quartets are already arranged for two performers, but we think Mr. Cramer is the first who has thought of compressing them within the compass of a single pair of hands. They were received with great and unanimous favour, loud applause following the end or every particular movement of each. The slow movement in the Beethoven quartet was one of the most exquisite performances to which we ever listened - grace, energy, passion, finish, all were there to make it perfect - it was John Cramer in his prime! The quintet of Mozart was capitally performed on all hands. The concert was altogether a demonstration of the high esteem in which Cramer is held by every artist of feeling and judgment. Many of our most distinguished performers were present, and the enthusiasm was unanimous. (The Musical world, Saturday, 1 August 1846)

Tuesday, 16 June 1846 : Mr. Howard Glover's Concert at Blagrove's Rooms.

BLAGROVE'S ROOMS. MR. HOWARD GLOVER'S CONCERT The concert-giver is one of those who promise most to aid the advance of the musical art in England. Mr. Glover is the son of our celebrated actress, Mrs. Glover, which fact is of itself sufficient to raise an interest in his favour among all who hold in reverence what is great and intellectual in high art. Educated in Germany, our young musician acquired in that favoured country of harmony the loftiest notions of music in its most classical forms. This was plainly evidenced in some selections from a MS. opera, Atilla, which formed part of last night's programme. In these are remarkable and intense feeling of dramatic propriety, no less than a large resource of melody, and a fanciful and original mode of harmonic treatment. It would, of course, be unfair to give a decided judgment of a work written for the theatre, performed under such circumstances as deprived it of the advantage of orchestral colouring, one of the strongholds of an operatic composer. Still, though with the mere adjunct of a piano forte accompaniment, we could not but perceive plainly the felicitous notion of dramatic forms and the feeling for characteristic treatment with which Mr. Glover has imbued his score. Though the variety of the orchestra was absent, the spirit of the original predominates so strongly as to produce a strong impression on the audience, and raise unusual curiosity about the opera of which the selections in question formed a part. They were exceedingly well interpreted by Mrs. A Newton, Miss Sara Flower, and Miss P. Horton, and received with loud demonstrations of approval from all parts of the room. Another composition of Mr. Glover, a kind of canzonet to Shelley's exquisite words, "Swifter far than summer's flight," is a composition full of thought, and instinct with a deep feeling of poetry - it was very cleverly sung by Miss Cubitt. Herr Pischek sang two new songs, the " Rhein-Warnung " and " Mit Liebchen," with marvellous effect. They were received with enthusiasm, encored, and must become the most popular lieder of the season. The concert presented other attractions well worthy notice - among these were a lied of Heucken, sung by Madame Knispel and encored; a pianoforte fantasia of Prudent, superbly executed by Mr. Lindsay Sloper, one of the foremost of our young musicians; one of John Parry's extravaganzas, encored as a matter of course ; a violoncello solo by Herr Drechsler, a performance remarkable for good taste and the absence of charlatainerie ; and, last not least, Mrs. Glover recited Gray's " Elegy in a Country Churchyard." Not a thought nor a word of that perfect poem but received its full value; her rich voice pealed through the room like the thrilling tones of an organ down the aisle of a cathedral. The exquisite pathos of the poetry found an echo in every bosom. It was eloquent, dignified, and reposeful. The Distin Family gave two of their refaciamentos, and Mr. Vincent Wallace, Mr. Howard Glover and Mr Lindsay Sloper officiated as accompanyists at the piano. The whole concert passed off most agreeably. (Morning Post, Wednesday, 17 June 1846)

Mr. Howard Glover - This young and promising composer is the son of Mrs. Glover, the actress. He gave a Concert, on Tuesday evening, at the Mortimer street Rooms, and several clever pieces from his MS. opera of "Attila" were sung by Miss S. Flower, Miss Cubitt, Miss P. Horton, Mrs. A. Newton, Madame Knispel, and Mr. W. H. Seguin. The other vocalists were Madame Mortier de Fontaine, her first appearance in this country, Miss Rainforth, Mr. Bodda, Mr. Barker, Mr. Harrison, Mr. John Parry, Hoelzel and Pischek. The solo players were Herr Drechsler, the violoncello, Mr. Lindsay Sloper, pianist; and the Distin Family, Sax horns. Mr. Howard Glover and Mr. Wallace were the accompanyists. Mrs Glover recited Gray's Elegy in Country Churchyard," but it was out of place in a concert room. (Illustrated London News, Saturday, 20 June 1846)

Tuesday, 16 June 1846 : Mr. Howard Glover's First Concert (Evening) at Mortimer Street Rooms, Cavendish Square.

MORTIMER STREET ROOMS, CAVENDISH SQUARE. MR, HOWARD GLOVER Has the honor to announce that his FIRST CONCERT Will take place at the above Rooms, ON TUESDAY EVENING, THE 16TH OF JUNE, 1846; On which occasion he will be assisted by the following distinguished Artists :- Miss Rainforth, Madame Mortier de Fontaine, (from the Paris Conservatoire Concerts, her first appearance in this country ) Made. Knispel, (from the Leipsic Conservatorium Concerts,) Mrs. A. Newton, Miss Sara Flower, Miss Cubitt, and Miss P. Horton; Mr. W. Harrison Mr. (by permission of Alfred Bunn Esq.) Mr. W. H. Seguin, Mr. F. Bodda, Mr. Clement White, and Herr Pischek; Mr. John Parry will sing one of his unrivalled Buffo Scenas; Mr. Distin and his Four Sons, (the Original Performers on the "Saxe-Horns,") will perform some of their favorite Airs: Pianoforte, Mr. Lindsay Sloper; Horn, Mr. Jarrett; Violoncello, Herr Louis Dreschler. Conductors, Mr. Howard Glover and Mr. Vincent Wallace. Between the Parts, Mrs. Glover will by permission of Benjamin Webster, Esq., recite Gray's "ELEGY IN A COUNTRY CHURCHYARD." The principal part of the Concert will consist of SELECTIONS FROM A MS. OPERA, and other Miscellaneous Pieces, composed by Mr. Howard Glover. Single Ticket, 5s. ; Reserved Seats, 7s. 6d. ; to be had of Mr. GLOVER, No: 7, Warwick Street, Charing Cross, and at the principal Music Shops. To commence at Seven o'clock. (The Musical world, Saturday, 6 June 1846)

Wednesday, 17 June 1846 : Ignaz Moscheles's Farewell Concert (Morning) at Hanover-Square Rooms.

Moscheles' Farewell Concert. THE name of Moscheles is connected with our earliest recollections of art. He was the first great pianist we ever heard, and as long as memory lives shall we bear vividly in mind the impression he produced on us. He played the famous variations on the "Fall of Paris," the progenitor of a long line of fantasias that have ultimately tended to the formation of what is termed the modern school of pianism. Yes - Moscheles has the modern school to answer for, though we exculpate him from partnership in its iniquities. In a moment of badinage he wrote a fantasia, which opened a new field wherein the characteristics of pianoforte music were entirely transmogrified. Little dreamed Moscheles while amusing himself in the manufacture of a piece of display which should outstep the limits of the ne plus ultra, that he was laying the seeds of a tree which would grow up and gradually spread its foliage over the whole world of music - little thought he that each note of his brilliant variations would be, so to speak, the manikin of a future giant, the chrysalis of a Herz, a Thalberg, a Liszt, or a Leopold de Meyer - the microcosm of a macrocosm. But so it was, and, while in a leisure moment Moscheles had unconsciously founded a school, he went on steadily in the path of his early choice - he persisted in the composition of works in which the forms of high art were manifest - he remained true to the standard of Haydn, Mozart, and Beethoven. Meantime others, less gifted than himself in the exalted attributes of thought and imagination, seized upon the materials he had thrown off in a careless humour, moulded them to their own purposes, and ultimately made them the basis of a new style of pianoforte-playing. And thence rose up the modern school of pianism - a great, tall, fantastic bully, but ingenious withal, and "tres spirituel." But this is only a small part of the achievements of Moscheles. He founded a school by accident, and a school not much to his taste; he therefore shrewdly abandoned its completion to others. His own bent was higher and purer ; his aim was to illustrate the progress of the student of the piano, from his outset to his ultimate perfection ; and this he has effected to admiration. The pianist's career is inseparably connected with the name of Moscheles. When he has a little way advanced, he must attack the lighter compositions of Moscheles ; when he has gained tolerable facility, he must fag hard at the studies of Moscheles ; when yet further onward, he must learn the concertos of Moscheles ; and when he is an accomplished pianist, he must, to keep pace with the times, labor zealously at the Etudes Caracteristiques, and all the later works of Moscheles. In short, Moscheles has made a whole library of music for the student - and every volume of it good, nay admirable, of its kind. Moscheles is the last of an illustrious line of men, who, though generally accomplished musicians, devoted their chief efforts to the improvement and perfection of the piano, - Clementi, Steibelt, Woelfl, Dussek, Cramer, Hummel, and, lastly, Moscheles. We omit Mozart, Beethoven, Weber, Mendelssohn, and Potter, from the list - not because they have failed to produce many sterling and admirable compositions for the instrument, but because their efforts have been more general ; they have written, and frequently written in every department of art, and have not made the pianoforte their exclusive, or even their principal object, like those we have mentioned. The mantle should fall from the shoulders of Moscheles on to those of Sterndale Bennett, who, at least, has the privilege of genius to assume it, provided he lack not the spirit of emulation, and the stimulus of ambition. He has already done much, and well ; but there is yet more to be achieved. To the same school belong Stephen Heller, and our young countryman, Lindsay Sloper, in whom Sterndale Bennett will find zealous and efficient comrades. Chopin belongs to no school ; he lives in a region of his own, or, rather, the dream of a something beautiful, which he vaguely endeavours to unfold to the world. Mendelssohn is universal. It is now three-and-twenty years since Moscheles came to sojourn amongst us. During that long period he has exercised a beneficial influence upon art - he has produced admirable pupils, among whom may be cited Henry Littolf, and Lindsay Sloper, as brilliant examples - he has written many of his greatest works - he has delighted and instructed the public by his grand concerts, matinées, has hospitably received at his house a large circle of professional friends and acquaintances - he has, in short, won general admiration as an artist, and general regard as a man. His name is so mixed up with the musical art in England, that it is impossible to separate them. And now after three-and-twenty years have flown away, to return never again - now that England, from a nation of indifferents has become the most musical nation in the world - now that London has wrested from Paris and Vienna the proud distinction of being the emporium and capital of the art, the tribunal of decision for every musical reputation, the maker of names, the expeller of delusions, the rewarder and enricher of artists - now that London is best able to appreciate and applaud his distinguished talents, Moscheles is going to leave us and settle permanently in Leipsic, where he has been appointed chief Professor of the Pianoforte at the Conservatory. We will not quarrel with him for this determination, nor will we now discuss his probable motives, as we may think proper to do hereafter - but we must lament a step which deprives the London profession of so brilliant an ornament and London society of so excellent a member. Indeed, his position will not readily be filled up and it must be long, very long, before the musical circles in this metropolis will have ceased to miss him. At how many a musical performance will his illustrious name be wanting - at how many a social meeting will there be a vacant place, a place which to occupy so worthily is in the province of a very few. It is a melancholy task we have before us. To notice a concert of Moscheles has been to us invariably an unmitigated pleasure, since invariably we have had to praise the great and conscientious artist - but to render an account of his FAREWELL CONCERT is a matter not easy to be indifferently accomplished - recollections, so many and so pleasant, crowd upon us - thoughts of times past and gone, when we were younger and happier than now, when enthusiasm was alive and bold within us, when hopes had not been crushed and feelings smothered - thoughts of times when experience had not pulled aside the curtains of reality, and shown us how cold and hollow was the world! But let egoism cease to babble - we must fulfil our duty. The Farewell Concert of Mr. Moscheles was given on Wednesday morning in the Hanover-square Rooms, which were crowded in every part by a brilliant audience of amateurs and artists. The programme of the performances was as follows PART I. Overture to Schiller's Tragedy, Joan of Arc" - Moscheles. Aria, Madame Caradori Allan, Sombre foret" (Tell) - Rossini. Concerto, in G minor, Pianoforte, Mr. Moscheles - Moscheles. Romanza, Signor Marras, "Bell' adorata." (Il Giuramento) - Mercadante. Duet, Madame Knispel and Herr Pischek. (Don Juan) - Mozart. New Grand Duet, Sonate Symphonique, Pianoforte, Madame Pleyel and Mr. Moscheles - Moscheles. PART II. Overture (The Naiades) - Sterndale Bennett. German Song, Herr Hoelzel, "Liebeslauschen" (Love's listener), first time - Moscheles. Duet, Signor Marras and Herr Pischek, "Dove vai," (Tell) - Rossini. Air, Madlle. Bochkoltz (St. Paul) - Mendelssohn. The celebrated Concerto (by desire) for pianoforte and two obligato flutes, Messrs. Moscheles, Ribas, and De Folly (accompanied by the stringed instruments) - S. Bach. Frühlingslied, Madame Knispel - Mendelssohn. Bolero, Madame Hennelle, " Ouvrez, ouvrez," - Dessauer. New German songs, Herr Pischek, "Liebes-Botschaft," (Love's message), "Freie Kunst," (freedom of song) expressly composed for the occasion - Moscheles. The Recollections of Ireland, Pianoforte, Mr. Moscheles (with orchestral accompaniments) Moscheles. Mr. Willy's excellent little band was engaged, and played its part in the concert to admiration, under the leadership of its clever director, and the conduct of our English Mendelssohn, William Sterndale Bennett, whose exquisitely fanciful overture to the Naiades was delightfully executed, and whose association with Moscheles on such an occasion is an event to be remembered with pleasure by every Englishman. But our sole business is with Moscheles ; and as we have given the programme entire, the mere observation that all the extra matters, vocal and instrumental, were efficiently achieved, must suffice. Such a moment as this is not the time to criticize - moreover, our high opinion of all the instrumental pieces by M. Moscheles included in the programme, has too often been expressed to render a repetition of it necessary here. We have frequently urged the propriety of the Philharmonic Society giving the overture to Joan of Arc - a composition full of genius, ingenuity, and character - at their concerts, and were more convinced than ever, on Wednesday, that it has been unhandsomely neglected by the institution for which it was originally written, and where it was once played and then shelved ad perpetuam. The concerto in G minor is one of the noblest ever composed, and never in our recollection was it so nobly interpreted. The entrance of Moscheles into the orchestra was the signal for a burst of long and reiterated plaudits that rang from every corner of the room. He sat down to the piano amidst a silence that was almost painful. One could not but reflect that this might be the very last occasion of hearing Moscheles play a concerto, and that concerto his own and his best. That the pianist himself was affected was evident - indeed, could he well have been otherwise under the circumstances? But Moscheles had made up his mind to play his finest - and certes, a more splendid display of the highest order of pianoforte-playing we never heard. From the grand opening of the first solo, to the graceful pathos of the adagio, and the rapid utterance of the octave passages in the finale, it was superb playing and no mistake, all was perfect, and the audience testified their appreciation of it in the most enthusiastic manner. Great things had been anticipated of the Sonate Symphonique, from the fact that it was announced to be performed by the composer aided by the celebrated Madame Pleyel, who was to take the first part. Nor were these anticipations unrealized - it was a glorious performance. Madame Pleyel, inspired by the fervor of the composition, and the actual presence of the author, excelled even herself. Great as she ever is, she was even greater than usual - she was inimitable. Had she composed the sonate symphonique herself, she could not have interpreted it with more truth and eloquence, she could not have given a tongue to its mysterious infinity of variable expression with more vivid reality, more passionate energy, and more enchanting grace. It was not like a duet - it was as though one performer were employed, and that one the composer of the work. Though impulse declared itself in every phrase, the sympathy between the two players was so entire, that like the Siamese twins, they appeared to have but one life, one soul, one energy between them. It was altogether the finest specimen of duet playing we ever listened to, and the unbounded applause of the audience was fairly divided between the composer and his incomparable partner. In this, Madame Pleyel achieved her greatest triumph since her visit to London ; she appealed to artists and their most intellectual sympathies, and with such irresistible force, as must at once have quelled the notions of some persons who would wish to insinuate that the fair pianist's talent is confined to the unapproachable interpretation of music of a particular school. Three MS. songs by Mr. Moscheles, compositions full of freshness and vigor, were listened to with the utmost interest. Herr Hoelzel and Pischek sang them admirably, and the "Freie Kunst" of the latter was rapturously encored. The Bach concerto was a splendid performance on all hands. The finale was redemanded, and repeated with increased effect. No pianist surpasses Moscheles in the interpretation of the music of this sublime composer. The concerto in question, which Moscheles has the merit of having introduced to the English public, is one of the most attractive of all the chamber works of Bach ; amidst the most complex and ingenious counterpoint, a strain of charming and original melody in all the parts flows on, like a stream unimpeded by any obstacles ; nothing can be more delicious. The pathos of the second movement, which would seem to have suggested to Mozart the character of accompaniment with which he has beautified Handel's magnificent air, "The people that walked in darkness," beyond all description impressive and wonderful. The last effort of Moscheles was "The Recollections of Ireland," one of the most ingenious and admirable of all his compositions. He played it with infinite taste and humour, executing the passages with grace and ease, and imparting to the whole a character as original as it was captivating. In a short cadenza he introduced a reminiscence of his celebrated "Fall of Paris," which caused some of his hearers to smile, but much more inclined us to weep ; he speedily abandoned it, however, as though this glance at the past were not altogether so pleasurable, considering the moment at which it occurred. The end of the "Recollections" was followed by a torrent of cheers, bravos, plaudits, and other manifestations of enthusiasm and respect for the great artist who had just performed for the last time in the arena of his many and glorious successes, and before an audience who had derived from him, on so many occasions, delight and instruction. The pianist was compelled to return and express his sentiment of the compliments paid him, and the good, warm, honest English feeling, that then bade him adieu, with many tears, many cheers, and a thousand imaginary shakes of the hand. And when Moscheles left the orchestra, a sudden gloom came over the whole of the excited crowd, and deadened their enthusiasm - they had seen the last of him in that place ! Let us own that we were affected - yes, reader, even to tears - and the clasp of the hand which we exchanged with the great musician, and worthy man, in the artists' room, will not be unremembered by us while the heart beats, and the blood flows. (The Musical world, Saturday, 20 June 1846)

Monday, 22 June 1846 : Mr. Lindsay Sloper's Matinée Musicale at 76 Harley-St.

MR. LINDSAY SLOPER'S MATINEE MUSICALE, 76, Harley-street, Cavendish-square, on Monday, June 22nd, at Half-past Two o'clock precisely. Mademoiselle Vera, Miss Dolby, Madame Mortier de Fontaine, Herr Holzel and Signor Alfredi; Madame Pauline Jourdan, Signor Piatti, Monsieur Lavigne, and Mr. Lindsay Sloper. Tickets 10s 6d. each, - to be had of Cramer, Beale, and Co.; Wessel and Co. and of Mr. Lindsay Sloper, 9, Bentinck-street, Manchester-square. (Daily News, Saturday, 20 June 1846) (Also: Atlas, Saturday, 20 June 1846.)

On Monday morning Mr. Lindsay Sloper has a concert; (Illustrated London News, Saturday, 20 June 1846)

MR. LINDSAY SLOPER, the pianist and composer, gives a Matinée Musicale, on Monday, at the Harley Street Rooms; a great classical treat may be expected, from the programme of this accomplished musician. (The Musical world, Saturday, 20 June 1846)

Advertisements. 76, HARLEY STREET, CAVENDISH SQUARE. MR. LINDSAY SLOPER'S MATINEE MUSICALE, ON MONDAY, JUNE 22ND, 1846, TO COMMENCE AT HALF-PAST TWO O'CLOCK PRECISELY. VOCALISTS. - Mdlle. Vera, Miss Dolby, Madame Mortier de Fontaine, Herr Holzel, Signor Alfredi. INSTRUMENTALISTS. - Harp, Madame Pauline Jourdan; Violoncello, Signor Piatti; Oboe, Monr. Lavigne; Pianoforte, Mr. Lindsay Sloper. Tickets, 10s. 6d., each; to be had of Cramer, Beale and Co., Wessel and Co., and of Mr. Lindsay Sloper, 9 Bentinck Street, Manchester Square. (The Musical world, Saturday, 20 June 1846)

Mr. LINDSAY SLOPER MATINEE MUSICALE, 76, HARLEY-STREET, CAVENDISH-SQUARE, on MONDAY, June 22, at Half-past Two o'clock precisely. Mdlle. Vera, Miss Dolby, Madame Mortier de Fontaine, Herr Hölzel, and Signor Alfredi, Madame Pauline Jourdan, Signor Piatti, M. Lavigne, and Mr. Lindsay Sloper. Tickets, 10s. 6d. each, to be had of Cramer, Beale & Co.; Wessel & Co.; and of Mr. Lindsay Sloper, 9, Bentinck-street, Manchester-square. (The Athenaeum, Saturday, 20 June 1846)

MUSICAL MEMORANDA…Concerts, &c, to Come.- Monday morning, concerts will be given by Madame Sala ; also by Madame Jablonsk: and Mr. Lindsay Sloper. (Morning Post, Monday, 22 June 1846)

MR. LINDSAY SLOPER'S CONCERT.-Mr. Sloper is a young pianist, possessed of powers which are rapidly raising him to eminence. He was originally, we believe, a pupil of Moscheles, and has since resided for some years in Paris, where he appeared with great distinction at many of the musical performances of the last season. The matinée musicale he gave yesterday at the Concert-rooms, in Harley-street, was attended by a crowded and fashionable audience, among whom we observed many of our most eminent musicians, particularly Moscheles, and the illustrious veteran, John Cramer, who appeared to take a lively interest in the success of the young artist. Mr. Sloper played, in the first plate, a "grand fantasia " from Don Pasquale by Prudent, a showy composition, of the modern school, well calculated (if it has little other merit) to exhibit the strong hand and a rapid finger. A "Valse brillante," composed by Mr. Sloper himself, was a superior composition, and a more interesting performance. He afterwards played one of Moscheles's beautiful "characteristic studies," and a tarantella by Stephen Heller, one of the most remarkable pianoforte composers of the day. All these performances were received with great applause. They were intermixed with several vocal pieces by Mademoiselle Vera, Miss Dolby, Herr Hoelzel, and others; and the whole formed a very agreeable melange. (Daily News, Tuesday, 23 June 1846)

MR. LINDSAY SLOPER'S CONCERT. Though compelled by the press of musical affairs to be brief, we cannot pass over this concert among the herd of such matters, nor the concert-giver among the herd of pianists and composers. Mr. Lindsay Sloper has talents of a very uncommon order, and if he do not belie his promise, will speedily rise to a high rank among living musicians. He was partly educated in England, partly at Heidelburg and Frankfort, and partly .in Paris. His masters for the piano have been Moscheles and Aloys Schmidt, his professor for composition was Volveller of Heidelburg. At the present moment, Mr. Lindsay Sloper, although a very young man, is decidedly one of the best pianoforte players in this country, and a composer of great distinction for his instrument. Yesterday, he gave a matinée musicale in the Harley street Rooms, which were filled by a select and elegant audience. The solo pieces performed by Mr. Sloper were Prudent's Lucia di Lammermoor. followed by a valse brillante of his own, a charming bagatelle ; Moscheles's beautiful etude caracteristique, entitled "Affection," and a tarantella by Stephen Heller, which was written by that celebrated composer especially for the young pianist. In all these pieces Mr. Sloper evinced qualities of style and execution of a very refined and exalted order, and utterly devoid of all pretence or exaggeration. Mendelssohn's charming variations concertante in D, for piano and violoncello, were also admirably executed by the young pianist in conjunction with Signor Piatti, who sustained the violoncello part to perfection. Solos on the harp and oboe, by Mdlle. Jourdan and M. Levigne, completed the instrumental section of the programme. The vocal part was excellent. The "Al desio " of Miss Dolby was a thoroughly classical performance, distinguished equally for musical feeling, vocal facility and refined taste-in short quite Mozartean. Mdlle. Vera sung an Italian aria with appropriate expression. Madame Mortier de Fontaine, in " Non piu di fiori," displayed a mezzo-soprano voice of fine quality. Herr Hoelzel . sang a pleasing ballad of his own. " Der Schmerz." very cleverly. Signor Alfredi gave the ''Come t'adoro" of Bellini with his best expression, and a duetto from the modern Italian repertoire, by Mille. Vera and Miss Dolby was one of the vocal gems of the concert. Mr. Moscheles was the conductor, and his fine playing was called successfully into request in the two great songs of Mozart. The concert proved altogether satisfactory. (Morning Post, Tuesday, 23 June 1846)

BENEFIT CONCERTs. - There have been a number of these concerts this week. On Monday Mr. Lindsay Sloper, a young pianist of great merit, gave a matinee musicale at the Concert-rooms in Harley-street, which was attended by a crowded and fashionable audience, among whom we observed Moscheles and the illustrious veteran John Cramer. (John Bull, Saturday, 27 June 1846) (Also: John Bull, Saturday, 27 June 1846.)

The minor Benefit concerts have been unusually numerous this week. Mademoiselle Vera's, given on Saturday last, showed that young lady to her best advantage. Being perfectly at ease, her voice was firmer than the public has yet heard it ; while her vocal science and finish excellently displayed in the duett "Per piacere," from "Il Turco," with Sig. Ciabatta, and in the Romance from Nino. She was further assisted by Miss Dolby and Herr Pischek; and treated her friends, too, to excellent solo playing by Sig. Emiliani, and Piatti, and M. Godefroid - On Monday, Madame Sala took her annual benefit : three professors of the pianoforte, too, summoned their "clients," these being Madame Jablonski, an English lady, Madame Bompiana, late Miss Isabella Prescott, who received her friends in conjunction with that piquant and intelligent singer, Madame Hennelle - and Mr. Lindsay Sloper. We entertain good expectations with regard to this gentleman. Lindsay He is an excellent pianoforte player: his touch is clear and firm; light, too, without frivolity : - his manner has that union of expression and elegance which can only result from complete training, since natural taste wanders wild when not tempered by science. A brilliant Valse gives us fair reason to hope for a composer in him, too. (The Athenaeum, Saturday, 27 June 1846)

MR. HOWARD GLOVER. - We must regret that a long notice of the concert of this admirable young musician, as well as another of that of M. Lindsay Sloper, both of which are in type, must stand over, with most of our other concert notices till next week. (The Musical world, Saturday, 27 June 1846)

BENEFIT CONCERTS - There have been a number of these concerts this week. On Monday Mr. Lindsay Sloper, a young pianist of great merit, gave a matinée musicale at the Concert-rooms in Harley-street, which was attended by a crowded and fashionable audience, among whom we observed Moscheles and the illustrious veteran John Cramer. (John Bull, Monday, 29 June 1846)

The matinée musicale of Mr. LINDSAY SLOPER, one of our most admirable pianists and best musicians, took place on Monday, June 22, in the Harley Street Rooms, before a crowded and fashionable audience. Mr. Lindsay Sloper opened the concert. In conjunction with the eminent violoncellist, Piatti, in Mendelssohn's charming Variations Concertante, in D. a highly refined performance on both hands, and exceedingly effective. Miss Dolby then sang Mozart's "Al desio" in the most expressive manner; and was followed by Herr Hoelzel, in a pretty song, "De schmerz," of his own composition. Mr. Lindsay Sloper came next with the Don Pasquale of Prudent, followed immediately by an elegant and musician-like Valse Brillante from his own pen; in the first he displayed a mechanism of great finish, added to an elegant and tasteful style - in the last he exhibited the graceful facility and neatness of execution demanded by the character of the morceau; he was loudly applauded in both. After a cavatina of Bellini, by Mdlle. Vera - Mozart's "Non piu di fiori," energetically sung by Mad. Mortier de Fontaine - a harp solo by Mad. Pauline Jourdan - a duet of Donizetti's, by Mdlle. Vera and Miss Dolby - a solo for the oboe, cleverly executed by M. Lavigne - two romances sung respectively by Mad. Mortier de Fontaine and Signor Alfredi - Linley's ballad, "Thou art gone from my gaze," which was exquisitely warbled by Miss Dolby - and another German song, "Die Deutsche Barcarole," composed and sung by Herr Hoelzel - Mr. Lindsay Sloper concluded the concert by performing in masterly style Moscheles' characteristic study, called "Affection," and Stephen Heller's Tarantella, works sparkling with genius from beginning to end, and both of which were received with the utmost favour. Mr. Moscheles conducted the Concert, a favour conferred upon Mr. Lindsay Sloper by his eminent instructor, as a mark of respect for his great and promising talents. In conclusion, we repeat that we have the highest possible opinion of Mr. Sloper, both as a pianist and a composer, and we shall be much disappointed if he do not eventually become one of England's very foremost musicians. (The Musical world, Saturday, 11 July 1846)

Wednesday, 8 July 1846 : "Musical World"'s The Musical World Concert (Morning) at Hanover-Square Rooms.

HANOVER SQUARE ROOMS. MUSICAL WORLD CONCERT, WEDNESDAY NEXT, JULY 8th. AT TWO O'CLOCK PRECISELY. LAST APPEARANCE of the Celebrated Pianist, MADAME PLEYEL. PROGRAMME. PART I. Conductor, Mr. Benedict. QUARTET in C, No. 9 - Messrs. Sainton, Sivori, Hill, and Rousselot - of "The Beethoven Quartet Society" - Beethoven. ARIA - "Resta O Cara," Miss Dolby - Pianoforte Obligato, Mr. Benedict - Mozart. SONATA in C Minor - Pianoforte and Violin, Madame Pleyel and Signor Sivori - Beethoven. SONG - "O Lord have mercy," Madame Macfarren - Violin Obligato - Bach. BEATRICE'S SONG - Miss Bassano, "Vocal Illustrations of Shelley." - J. W. Davison. QUARTET - four Violoncellos, MM. Piatti, Casella, Hausmann, and Rousselot - Rousselot. PART II. Conductor, Mr. Lindsay Sloper. SONATA in F, - Pianoforte and Violin, Madame Pleyel and M. Vieuxtemps - Beethoven. CANTATA - "Non Temer," Madame Thillon. Pianoforte Obligato, Mr. Lindsay Sloper - Mozart. CONCERTO - Pianoforte, two Flutes, Obligato and Quartet, Mr. Moscheles, &c., &c. - Bach. DUET - "Come, let us be gone," Misses A. and M. Williams. - H. Smart. ROMANCE - "Swifter far than Summer's Flight," (Vocal Illustrations of Shelley) Miss Dolby - J. W. Davison. FANTASIA - Pianoforte, "Il Pirata," Madame Pleyel - Kalkbrenner. TRIO - Miss Dolby, Miss Bassano, and Madame Macfarren - G. A. Macfarren. Pianofortes - Messrs. Broadwood's New Patent Grand Improvement. *.* SUBSCRIBERS who have paid their Subscriptions up to Christmas 1946, are entitled to a Free Ticket, which may be had from the Publisher of the "MUSICAL WORLD," Nassau Steam Press, 60, St. Martin's Lane. TICKETS FOR THE CONCERT, 7s.; RESERVED SEATS, 10s. 6d. May be had of the Publisher as above; of CRAMER, BEALE, and CO., and of the principal Music Publishers. (The Musical world, Saturday, 4 July 1846)

HER MAJESTY'S CONCERT ROOMS, Hanover-square-The MUSICAL WORLD.- The Subscribers to the above-named Journal, and the Public, are informed that a GRAND MORNING CONCERT will be given at the above Rooms, on WEDNESDAY, July 8, to commence at Two o'clock precisely. Vocalists- Madame Anna Thillon, Miss Dolby, Miss Bassano, the Misses Williams, Madame Macfarren, and Mr. Allen; Instrumentalists- Pianoforte, Madame Pleyel (the last public performance of this celebrated pianist during the present season), and Mr. Moscheles; Violins, Monsieur Vieuxtemps, Monsieur Sainton and Signor Sivori; Viola, Mr. Hill; Violoncello, Monsieur Rousselot. Signor Piatti, Signor Casella, and Herr Hausmann; Harp Monsieur Godefroid. Conductors- Mr. Benedict and Mr. Lindsay Sloper. In the course of the Concert, Beethoven's Grand Quartet in C major, by the celebrated party of the Beethoven Quartet Society ; Beethoven's Sonata in C minor, for pianoforte and violin by Madame Pleyel and Sig. Sivori; Beethoven's Sonata in F major, for piano and violin, by Madame Pleyel and M. Vieuxtemps; a Grand Fantasia, for piano solo, by Madame Pleyel; and Bach's Concerto for piano and two flutes (obligato), pianoforte, Mr. Moscheles! Tickets, 75., Reserved Seats, 10s. 6d., may be had of the publisher of the 'Musical World," Nassau Steam Press, 60, St. Martin's-lane; of Messrs. Cramer, Beale, and Co.; and of all the principal Music Warehouses and Libraries. (Morning Post, Monday, 6 July 1846) (Also: Morning Advertiser, Tuesday, 7 July 1846.)

MUSICAL WORLD GRAND CONCERT, TO-DAY (Wednesday), July 8, in the Hanover-square Rooms, at two o'clock. Last appearance of the renowned pianist Madame Pleyel, Madame Thillon, Miss Dolby, Miss Bassano, the Miss Williams, Madame Macfarren, M.M. Moscheles, Benedict, Lindsay Sloper, Vieuxtemps, Sivori, Sainton, Rousselot, Casella Hausman, Piatti, Hill, Willy, Carte, De Folly, &c., will all perform. A few Box Seats at 10s. 6d. (Morning Advertiser, Wednesday, 8 July 1846)

THE MUSICAL WORLD CONCERT. The programme, which we insert below, of this musical performance, may account for the unprecedented crowd of visitors that filled up every corner of the Hanover-square Rooms yesterday afternoon. The last appearance of the celebrated Madame Pleyel was one of the great media of attraction - the last grand concert of the season may have been another - but the classical excellence of the selection, and the brilliant galaxy of stars who assisted in interpreting it, a thing so rarely witnessed, rendered surprise at the enormous assembly convoked altogether out of the question : - PART I. Conductor, M. Benedict. Quartet in C (No. 9, Rasoumoffsky)- Messrs. Sainton, Sivori, Hill, and Rousselot- of "The Beethoven Quartet Society" Beethoven. Cantata - " Non Temer," Madame Thillon - Pianoforte Obligato, Mr. Lindsay Sloper. Mozart. Sonata in C Minor - Pianoforte and Violin, Madame Pleyel and Signor Sivori Beethoven. Aria - " Ah non lasciarmi" G. A. Maerfarrer.. Beatrice's Song - Miss Bassano, from the " Vocal Illustrations of Shelley" J. W. Davison. Romance - Four Violoncellos, MM. Piatti, Cassella, Baumann, and Rousselot. Rousselot. PART 11. Conductor, Mr. Lindsay Sloper. Sonata in F - Pianoforte and Violin, Madame Pleyel and M. Vieuxtemps Beethoven. Recit. and Aria - " Resta, O Cara," Miss Dolby Pianoforte Obligato, M. Benedict Mozart. Concerto - Pianoforte, Two Flutes, Double Quartet and Double Bass, Messrs. Moscheles, &c., &c. Bach. Duet-" Come, let us be gone," from the " British Vocal Album," Misses A. and M. Williams [It. Smart. Roniai.ee] - " Swifter far than Summer's Flight," Miss Dolby, from the "Vocal Illustrations of Shelley" J. W. Davison. Fantasia - "II Pirata," Pianoforte, Madame [?]evel Kalkbrenner. Canzonet - " The Mermaid," Miss Bassano. Haydn. Trio-" Merrily, meet again," Miss Bassano, Madame Macfarren, and Miss Dolby O. A. Macfarren. The imaginative quartet of Beethoven was given to perfection. Sainton is a player of wonderful energy and precision, and with a violina seconda like the inimitable Sivori, the effect of his broad massive style was supported and enhanced. Hill and Rousselot played with their accustomed skill, and the whole work was received with an enthusiasm worthy the audience of the Beethoven Quartet Society - the founder of which, by the way, we observed in the room, among the most attentive and delighted of the auditors. The sonata in C minor- Beethoven in another humour, gloomy, passionate, and sublime- was the next great instrumental treat. Its exposition by Madame Pleyel and Signor Sivori was a noble display of poetical reading and faultless execution. Madame Pleyel felt all the deep despondency of the music, which illustrates Beethoven in one of those wild and passionate moods that occasionally came over him, and coloured his whole existence with a kind of intermittent melancholy. She gave to the allegro the full measure of its grand despair - to the andante all its world of pathos - to the scherzo its savage exultation - to the finale its rugged and capricious stubbornness. The poetry of Beethoven was explained to the multitude by an orator of sympathetic eloquence. Sivori outshone himself; his execution was marvellously neat and ready - his expression yielded itself with grace and facility to the endless modifications of passion which abound throughout the sonata ; true to his author, he gave the correctest reading to the minutest phrase, while over the whole he threw the impress of his own beautiful and engaging style. The applause at the conclusion was enthusiastic. M. Rousselot's romance is a composition of studied simplicity, underneath which peeps the nameless qualities that constitute the elegant and accomplished musical thinker. It was perfectly rendered by the four admirable violoncellists, and applauded with fervour. Of the sonata in F, as rendered by Madame Pleyel and Vieuxtemps, we have already spoken in terms of appropriate eulogium in our last notice of "The Musical Union." A more exquisitely graceful interpretation of a composition in which grace and tenderness are the predominant elements, we never listened to. The two executants are admirably matched, and the impulse of one is so instantly echoed by the volition of the other, that it is as though one performer, instead of two, were engaged upon the work. The scherzo was encored, and the sonata, from beginning to end, applauded with vehemence and unanimity. The glorious concerto of old Bach has also realised our [mcccl] ? of homage on a previous occasion of its public performance. To Mr. Moscheles is. due the merit of having saved it from neglect, and to his admirable handling of the pianoforte part is due its appreciation by the public. It was played yesterday to perfection ; every performer felt the sublimity of the work, and did his utmost to enforce it. The finale was redemanded, and repeated with increased effect. The last instrumental performance, the brilliant fantasia on the Pirate, was rendered by Madame Pleyel with that astonishing mechanical perfection and that exquisite purity of expression which characterise all her exhibitions in the modern school of pianism. Being the last appearance of the fair pianist for the season, unusual interest was manifested, and the last note of the coda was followed by a general encore ; to which, notwithstanding her previous exertions, the accomplished artist readily acceded, executing, in her own unrivalled manner, the delicious tarantella of Liszt, after la danza of Rossini. This was one of Madame Pleyel's first triumphs in England : she played it at, her first "recital" with prodigious effect, and thus appropriately made it the musical expression of her adieu, or, let us trust, her au revoir, to that public which has so lavishly showered its favours upon her. The vocal music was of an equally interesting order. The two noble compositions of Mozart were admirably sung -the " Non temer" of Madame Thillon was remarkable for facility and elegant reading ; the " Resta, O cara !" of Miss Dolby was passionate, glowing, and expressive. Macfarren's charming "Ah non lasciarmi" was rendered with great feeling by Madame Macfarren, and the elegant and musician-like duet of Henry Smart received ample justice at the hands of the clever Misses Williams. Mr. Davison's two songs from the " Vocal Illustrations of Shelley," were beautifully sung by Miss Bassano and Miss Dolby, the latter, "Swifter far than summer's flight," being honoured with a spontaneous encore, a just tribute to the fine reading of Shelley's words by the admirable vocalist, who positively " sang like an angel," no less than to the melancholy charm of the music, which has all the flow of some quiet old national melody. Mr. Benedict and Mr. Lindsay Sloper executed their obligato pianoforte parts in the songs of Mozart in perfect style. The concert was one of the best of the whole season- whether in regard to the unequivocal excellence of the programme, the celebrity of the artists, or the crowds that thronged the rooms to enjoy it. The reputation of "The Musical World " will be enhanced a hundredfold by this successful display of spirit and liberality in favour of its subscribers. (Morning Post, Thursday, 9 July 1846)

The "Musical World" Concert. This musical entertainment attracted an overflowing audience yesterday afternoon to the rooms in Hanover-square; all the avenues and lobbies were literally thronged with visitors. Besides being the last concert of the season, the programme presented by the Music World was one of very uncommon merit, both in regard to the music of which it consisted, and the performers engaged to interpret it. It will be seen by the following that the selection of pieces was made with a view to the promotion of a healthy and classical taste in art, the frivolous style of composition, too much encouraged, being, in this instance, wholly abandoned for higher matter PART I Conductor, M. Benedict. Quartet in C (No. 9, Rasoumoffsky), Messrs. Sainton, Sivori, Hill, and Rousselot, of "The Beethoven Quartett Society." - Beethoven. Cantata " Non temer," Madame Thillon, pianoforte obligato, Mr. Lindsay Sloper. - Mozart. Sonata in C Minor, pianoforte and violin, Madame Pleyel and Signor Sivori. - Beethoven. Aria, "Ah non lasciami " Madame Macfarren. - G. A. Macfarren. "Beatrice's Song," Miss Bassano, from the Vocal Illustrations of Shelley. - J. W. Davison. Romance, four violoncellos, MM. Piatti, Casella, Hausmann, and Rousselot. - Rousselot. PART II. Conductor, Mr. Lindsay Sloper. Sonata in F, pianoforte and violin, Madame Pleyel and M. Vieuxtemps. - Beethoven. Recit. ed Aria, "Resta, O Cara," Miss Dolby, pianoforte obligato, M. Benedict. - Mozart. Concerto, pianoforte, two flutes, double quartett, and double bass, Messrs. Moscheles. Carte, De Folly. Willy, Loder, Goffrie, Streather Hill, Westlake, Rousselot, Hausmann, and Flower. - Bach. Duet, "Come, let us begone," from the British Vocal Album, Misses A. and M. Williams - H. Smart. Romance, "Swifter far than Summer's Flight," Miss Dolby, from the Vocal Illustrations of Shelley .- J. W. Davison. Fantasia, - Il Pirata, pianoforte, Madame Pleyel. - Kalkbrenner. Canzonet, "The Mermaid," Miss Bassano. -Haydn. Trio, "Merrily meet again," Miss Bassano, Madame Macfarren, and Miss Dolby. - G. A. Macfarren. The quartett of Beethoven, perhaps the most popular among connoisseurs of the celebrated Rasoumoffsky set, on account of the andante movement in A minor, and the fugued finale, was played with the known perfection of the executants, who have more than once achieved a triumph in the same composition at the meetings of the "Beethoven Quartet Society." Yesterday MM. Sainton, Sivori, Hill, and Rousselot, had to contend with the inconvenience presented by a room of vast proportions, but, nothing daunted, the four enthusiasts seemed inspired with additional vigour, and zealously explained the eloquent meaning of Beethoven to the immense assembly, who listened with profound attention, and applauded with warmth and unanimity. The interest of the audience increased as the work progressed, and the finale, with its astonishing development and prodigious climax, positively electrified them. Madame Thillon sang Mozart's fine cantata with graceful expression and fluent vocalism, and was accompanied admirably by Mr. Lindsay Sloper. It is a pleasure to find so popular an artist as Madame Thillon with a taste and a love for such deep and passionate music as Mozart's, which differs essentially from that in which she has principally achieved her fame. The C minor sonata, for violin and piano, of Beethoven, is one of the grandest inspirations of that wonderful genius; the variety of styles embraced by the different movements presents ample occasion for the development of the kind of quality of which the executants talent may consist. it was incomparably rendered. Madame Pleyel, who has created so unusual a sensation in the brilliant compositions of the modem school, here asserted her supremacy in music of a loftier kind, not less difficult, because more profound. Her reading was highly poetical, her execution masterly and unerring; the andante, in A flat, was an exquisite specimen of cantabile playing, full of pathos, and unblemished by an atom of false sentiment. Sivori played wonderfully - following or leading, as the importance of his own or his comrade's part suggested, with the utmost accuracy and aplomb - in short, more perfect unanimity between two performers could not have been desired. The applause which greeted the two accomplished artists was vociferous-it was a thorough triumph of classical taste, The aria of G. A. Macfarren is replete with tenderness and melody, which the singer, Madame Macfarren, expressed with great fervor. Miss Bassano, in the song of Beatrice, from J. W. Davison's Vocal Illustrations of Shelley, evinced an impassioned feeling, and an unaffected simplicity of expression, entirely in character with the music. She was deservedly rewarded with the loudly expressed approval of the whole room. M. Rousselot's charming romance was a rare treat for connoisseurs; such faultless playing could not fail to create enthusiasm, and the reception was in accordance with the merits of the composition and the ability of the four executants. Madame Pleyel's second essay with Beethoven was not less entitled to unqualified eulogy than her first. The Sonata in F is wholly different in character from that in C minor; in lieu of impetuous energy, it abounds in gracious phrases of the tenderest and sweetest melody, and these. from the fingers of the fair pianist, fell with such purity and unbroken smoothness as betokened the elegant mind which impelled, and the sound judgment which directed her; the performance was altogether one of beautiful and unerring impulse. Vieuxtemps was precisely the violinist to aid Madame Pleyel in the interpretation of this inexpressibly graceful work, a fountain from which melody issues in profuse and grateful showers; he played divinely, expressing and executing with equal ability, phrasing to admiration, and effectively balancing the contrasts and the climaxes with which the detail is coloured and the interest deepened. The scherzo was encored with the strongest marks of enthusiasm. Miss Dolby's Resta O Cara, is worthy of its immortal composer, a noble and classical reading of a noble and classical aspiration remarkable equally for consummate vocal facility and refined expression; it was received with high favour. Of the wonderful concerto of Bach our opinion was given in the notice of Moscheles' farewell concert. It was as effective and spontaneous as ever in the hands of its admirable expositor and his co-operators, wind and stringed. M. Moscheles merits the consideration of all lovers of music for having rescued this remarkable composition from its burying place of oblivion. The finale met with the boisterous encore which is its usual accompaniment. Henry Smart's exquisite duet was gracefully rendered by the Misses Williams. Though long and elaborate, it was listened to with unabated pleasure, and rewarded by loud demonstrations of approval. Madame Pleyel's solo, the well-known Il Pirata, created an absolute uproar; the fair pianist executed it to admiration, and, at the conclusion, the entire audience rose up and cheered her. An encore was inevitable, and Madame Pleyel was forced to return to the orchestra; instead of repeating the Pirata, she substituted the Tarantella, which called forth all that finesse of sentiment and extraordinary mechanical perfection for which she is renowned; the applause at the end was tumultuous - an appropriate tribute to the great artist who thus triumphantly bade farewell to that public which has received her with such unanimous favour. The two vocal pieces announced in the bills to follow the performance of Madame Pleyel were omitted. The audience, feeling that the proper climax of the concert had arrived, would remain for nothing else. Altogether this concert may be regarded as a triumph of classical music over the flimsy taste which has been unjustly ascribed to our audiences. That between 1,100 and 1,200 persons should listen attentively, and applaud enthusiastically, one of the profoundest works of Beethoven, is a great fact in the history of our musical progress. Something however, - nay, much, - must be ascribed to the inimitable talent of the executants, and not a little to the wholesome and gradually increasing influence of the example set by the "Beethoven Quartett Society." (The Times, Thursday, 9 July 1846)

THE MUSICAL WORLD CONCERT. There was held, the Hanover-square Rooms, what was termed The Musical World Concert, -an entertainment somewhat original in its character, being given by the proprietors to the subscribers to the weekly journal of music entitled The Musical World. The regular purchasers of that publication were certainly peculiarly privileged in having gratuitous admission to a Concert of such superior nature, and of such combined attractions; and a proof thereof, numbers of the non-subscribing public were found willing to pay at the rate of the usual run of expensive concerts, in order to be likewise present on this occasion. Long before the commencement, the room, gallery, and such portions of the orchestra as were to spare were completely filled with company, and the utmost interest was maintained throughout, owing to the judicious arrangement of the programme, and the delightful variety it afforded of first rate talent. Beethoven's quartet in C (No. 9, Rasoumoffsky) was exquisitely performed Messrs. Sainton, Sivori, Hill, and Rousselot; and the same composer's Sonata in C Minor was most ably and brilliantly executed on the piano and violin, Madame Pleyel and Sivori. The last instrumental performance, in the first part, was romance Rousselot (MS.), for four violoncellos, beautifully executed by the composer, and M.M. Piatti, Casella, and Hausmann. In the second division of the entertainment, Madame Pleyel and M. Vieuxtemps gave Beethoven's Sonata in (pianoforte and violin), in a remarkably accomplished and (if the term may be used) eloquent manner. Some of the passages were rendered with the greatest delicacy and finish, others being equally distinguished for their brilliancy of style. Among the various other instrumental pieces we cannot omit the mention of a concerto (Bach) for the pianoforte, two flutes, a double quartet and double bass, admirably performed by Messrs. Moscheles (who was received in a most flattering manner), Carte, Folly, Willy, Loder, Goffrie, Streather, Hill, Westlake, Rousselot, Hausmann, and Flower. These names will form a tolerable guarantee for the truth of the statement that this was a rich musical treat of very high order and, as such, it was recognised by the crowded audience. Among the vocalists on the occasion. Mademoiselle Thillon was very successful in Mozart's "Non temer," with a piano obligato by Mr. Lindsay Sloper; and Miss Bassano with real taste and judgment [sang] Beatrice's song "False Friend, wilt thou smile or weep" (from Davison's " Vocal Illustrations of Shelley") Miss Dolby also elicited considerable applause by her talented and effective execution of the recitative and aria, "Resta O Cara," with pianoforte obligato by Mr. Benedict. There were, moreover, numerous other excellencies in this concert; and, indeed, it passed off admirably throughout. (Morning Advertiser, Friday, 10 July 1846)

THE "MUSICAL WORLD" CONCERT. A Concert was given on Wednesday morning at the Hanover-square Rooms, by the proprietors of this publication, free tickets being given to the annual subscribers, and the general public being admitted by half-guinea and seven shilling payments. The artists gave their services gratuitously, in the expectation, no doubt, that they would be amply repaid in puffs. There were Sivori, Sainton, Vieuxtemps, Rousselot, Benedict, Piatti, Casella, De Folly, Hausman, Moscheles, Madame Pleyel, and Madame Thillon amongst the foreign professors; and the English were Mr. Lindsay Sloper, Mr. Hill, Mr. Carte, Miss Dolby, Miss Bassano, the Misses Williams, and Mrs. Macfarren. The "native talent" had the most subordinate part in this programme, except in the vocal selection, which comprised two songs by Mr. J. W. Davison, who, as a composer, is unknown to fame, Mr. Henry Smart, a very superior musician, and Mr. Macfarren, We need scarcely state that we disapprove entirely of this French system of concert-giving on the part of journalism. It is an unjust tax on artists to require them to give their aid without remuneration, and it fetters the independent critic, who must be bound to exalt those who serve his interests. The Morning Chronicle remarks: "The advertising columns would look odd with the announcements -'Grand Concert of the Times,' 'Matinee Musicale of the Morning Post' 'Soiree of the Chronicle' &c and what would then become of the Musical World? The system The system is highly dishonest, and we hope to hear no more of such Parisian practices. (Illustrated London News, Saturday, 11 July 1846)

THE "MUSICAL WORLD" CONCERT. IN speaking of this entertainment, which occurred on Wednesday morning, in the Hanover Square Rooms, before one of the most crowded and overflowing audiences that ever assembled within the walls of a concert-room, we are withheld by motives which will be readily appreciated by our readers, and by the eminent artists who afforded us their assistance, from dilating upon the performance in detail. In giving the programme as it actually occurred, and coupling with it the assurance that never was a selection of music, (classical or not classical) executed with more zeal and ability by all concerned - listened to with more earnest attention, or applauded with more unanimous and unequivocal enthusiasm, we do all that our position in respect to the concert, and our obligations towards the performers, will gracefully permit. At the same time, at the risk of being accused of egotism, we cannot refrain from saying that the exclusive nature of the programme, and the combination of artistic excellence, vocal and instrumental, engaged in its execution, must have caused every one concerned in it to have felt that he was affording assistance to the progress and honor of his art. The following was the order of the programme PART I. Conductor, M. Benedict. Quartet in C. (No. 9, Sainton, Sivori, Hill, and Rousselot -of "The Beethoven Quartet Society." - Beethoven. Cantata-" Non Temer," Madame Thillon - Pianoforte Obligato, Mr. Lindsay Sloper - Mozart. Sonata in C Minor - Pianoforte and Violin, Madame Pleyel and Signor Sivori - Beethoven, Aria - "Ah non lasciarmi," Madame Macfarren - G. A. Macfarren. Beatrice's Song - Miss Bassano, from the "Vocal Illustrations of Shelley." - J. W. Davison. Romance - Four Violoncellos, M. M. Piatti, Casella, Hausmann, and Rousselot. PART II. Conductor, Mr. Lindsay Sloper. Sonata in F - Pianoforte and Violin, Madame Pleyel, and M. Vieuxtemps, (Scherzo encored.) - Beethoven. Recit. and Aria - "O Resta O Cara," Miss Dolby - Pianoforte Obligato, M. Benedict - Mozart. Concerto - Pianoforte, Two Flutes, Double Quartet and Double Bass, Messrs. Moscheles, Carte, Schmidt, Willy, Loder, Goffrie, Streather, R. Blagrove, Westlake, Rousselot, Hausmann, and Flower. (Finale encored.) - Bach. Duet - "Come, let us begone," from the "British Vocal Album," Misses A. and M. Williams - H. Smart. Romance - "Swifter far than Summer's Flight," Miss Dolby, from the "Vocal Illustrations of Shelley," J. W. Davison. (encored.) Fantasia - "Il Pirata," Pianoforte, Madame Pleyel, encored, and the Tarantella substituted.) - Kalkbrenner Trio - "Merrily meet again," Miss Bassano, Madame Macfarren, and Miss Dolby - G. A. Macfarren. That such a programme should have been listened to by an audience of twelve hundred persons, without one sign of impatience - but with continued demonstrations of pleasure - that the profundities of art developed in the instrumental compositions of Beethoven and Bach, and the deep poetry of the vocal inspirations of Mozart, should have been entirely appreciated by so vast a mixed assembly - that Madame Pleyel, the most brilliant and accomplished pianist of the modern school, should have excited even more interest in the masterpieces of Beethoven than she has hitherto excited in those compositions which appeal more directly to the immediate apprehension of the multitude - that Madame Thillon, the fascinating representative in this country of the Parisian opera comique, should have been applauded to the echo in the impassioned strains of Mozart, so unlike the French music in vogue - in short, that a programme so unexceptionably serious should have involved one uninterrupted series of triumphs for the admirable artists who interpreted it, in the presence of so vast a concourse of auditors, is surely a fact worthy the attention of amateurs and musicians in general, and of concert-givers in particular. That it was an experiment we are bound to admit - but that our high opinion of the intelligence of a London audience, an intelligence too often allowed to sleep for lack of excitement, made us sure of the result, we are equally anxious to state, and the success of the concert has proved the justness of our calculation. We have over and over insisted that the English musical public is the most sensible, and the least likely to be blinded by false glitter, of any musical public in Europe, and the reception of last Wednesday's programme has more than ever confirmed us in our opinion. - D. R. (The Musical world, Saturday, 11 July 1846)

The Musical World concert. THE flattering notices below, from the great morning journals of England, on our first annual concert, require no comment. With our usual modesty we should have refrained from reporting them, but we owe this sacrifice of our natural backwardness to the great artists who afforded us their powerful assistance on the occasion, and in justice to them we record these testimonies to their brilliant talents. The first is from the Morning Herald. The subscribers to the Musical World were handsomely regaled yesterday morning at these rooms. Maps, globes, engravings, and even thousand pound notes (!) have been held up, in dim perspective, without number, by enterprising newspapers as baits to catch purchasers; but here is a journal that not only promises a concert, but actually give it ! Though new to this country, it is, we believe, by no means uncommon with the Parisian musical prints to provide entertainments of this sort for their patrons, to which access is obtained by virtue of a twelvemonth's subscription. The contract which the editor of the English periodical made at the beginning of the year with those who booked themselves for a term so far honourably fulfilled ; and the concert of yesterday, whether for the excellence of the materials of which the programme was composed, or for the distinguished eminence of the artists whose assistance was secured, may unquestionably be ranked among the best of the season. Nothing of a trivial or inferior description of music was given - nothing that the intelligent and educated amateur could hear without enjoyment. The manager of the concert, in short, behaved with becoming respect and liberality to his weekly readers, and we suspect he will find a satisfactory account in so doing. A word may not unfitly be written here in recommendation of the Musical World itself, which, notwithstanding the variety of editorial hands through which it has passed during a career of some 18 or 20 years, has never been conducted with more spirit or completeness than now. [Here follows programme] Beethoven's quartet, one of the celebrated Rasoumoffsky set, and highly popular at the meetings of the "Beethoven Quartet Society," was played, with its accustomed excellence, by the four accomplished exponents-Sainton, Sivori, Hill, and Rousselot; it was listened to with profound attention throughout, and warmly applauded at the termination-the finale, with its extraordinary development of fugue and sequence, exciting the hearer to enthusiasm. The two sonatas of Beethoven were well selected by Madame Pleyel for demonstrating her aptitude in very opposite styles of expression. Of the one in F and its method of performance by this lady and Vieuxtemps, we have already spoken highly. Yesterday's essay was as effective as ever; and the quaint scherzo was loudly encored. The characteristics of this sonata are, alternately, graceful tranquillity and playful caprice; the andante, so exquisitely rendered by Madame Pleyel, is the perfection of unhackneyed sentiment. The finale sparkles with evanescent beauties, the embodyment of which demands from the executants a perception keen and sensitive to the last degree. The other sonata, in C minor, abandons the feminine qualities of grace and gentleness for the sterner demonstrations of passion: it is impetuous, wild. and wayward ; vast in outline, and imposing in the largeness of its development. In this Madame Pleyel's unlimited means placed the most energetic displays of sentiment at her ready disposal, and in some of the gorgeous climaxes of the sonata her reading was sublime. The andante was deliciously developed. ln movements like this, involving the delivery of long-sustained melody, Madame Pleyel has no competitor. The finale was marked by all the quaintness and impetuosity its character requires. Sivori played up to his accomplished colleague broadly and effectively. The fine old concerto of Bach, with Moscheles once more at the pianoforte, again captivated all hearers, and the stupendous finale was, as is invariably the case, loudly encored. The romance of M. Rousselot for four violoncellos, an elegant and musician-like bagatelle, was ably rendered by the composer, conjointly with Piatti. Casella, and Hausmann. The last instrumental exhibition, the Pirata fantasia, brought out the more brilliant attributes of Madame Pleyel in such a manner as to elicit the loudest encore of the morning; in reply to which the fair pianiste introduced her popular Tarentella, which was welcomed by cheers and acclamations from every part of the room. The vocal music must be dismissed shortly. Miss Dolby was highly successful in both her songs. In Mozart's divine air she was grand and passionate, and in Shelley's Lament, so characteristically illustrated by Mr. Davison's music. unaffectedly dramatic and expressive. The latter was unanimously encored. Madame Thillon sang " Non temer" extremely well, and was judiciously accompanied by Mr. Lindsay Sloper. Miss Bassano also won good opinions by her highly finished reading of Beatrice's song - another of Mr. Davison's clever "Vocal Illustrations of Shelley." Madame Macfarren sang the aria by Mr. G. A. Macfarren with great energy; and Henry Smart's fascinating duet was neatly executed by the Misses Williams. The rooms were crowded in every part. (The Musical world, Saturday, 11 July 1846) (Also: The Musical world, Saturday, 11 July 1846.)

The next in rotation is from the DAILY NEWS. The principal Parisian musical journals, the Gazette Musicale and the France Musicale, are in the custom of giving several concerts each year, to which their subscribers are gratuitously admitted. This example has now been followed by our well-known journal, The Musical World, by whose proprietors a concert was given in the Hanover-square Rooms yesterday morning. It was of a highly classical description, and gave the greatest satisfaction to a crowded audience. The performance began with Beethoven's Ninth Quartet, in C, of which it is quite sufficient to say that it was executed by Sainton, Sivori, Hill, and Rousselot. Mozart's famous cantata, "Non temer," was then sung with great brilliancy and beauty by Madame Thillon, who was admirably accompanied by Lindsay Sloper. The next piece was Beethoven's sonata in C minor, for pianoforte and violin, played by Madame Pleyel and Sivori. This lady has now discovered that the English public can understand and enjoy the most refined kinds of instrumental music. The sonata in C minor is one of its author's grand and lofty conceptions, demanding on the part of both performers great executive power, combined with energy, feeling, and the utmost delicacy of style and expression. The performance was a trial of strength between two of the most accomplished artists who now exist - a contest in which both were victorious, for nothing could be more magnificent or triumphant than the effect they produced. Madame Pleyel afterwards played, with Vieuxtemps, Beethoven's sonata in F, the performance of which, at the last meeting of the Musical Union, we have already noticed. She has now, in several public appearances, made the amende honorable for the exclusive devotion she at first paid to the shallow fashionable style of the day, and has shown that her powers embrace the whole range of the art. Towards the conclusion of the concert she played Kalkbrenner's fantasia on the airs from the "pirate." In all these pieces she received the most rapturous applause, and several movements were encored. A romance for four violoncellos, composed by M. Rousselot, and played by him, Piatti, Casella, and Hausmann, gave great pleasure to the audience. It was an andante movement, full of sweet melody, richly harmonised, entirely in accordance with the genius of the violoncello, and unpolluted by any of those scrambling passages which render this noble instrument a bad imitation of the violin. The only other instrumental piece was Bach's concerto for the pianoforte, accompanied by two flutes and a double quartet of stringed instruments. Moscheles, who played the pianoforte part, had previously introduced it to the acquaintance of the amateurs at his own matinées. It is a charming specimen of the genius of the great old master, showing that he could be light and graceful, as well as profound and sublime. There was a good deal of excellent vocal music. Madame Macfarren sung her husband's fine aria, "Ah, non lasciarmi," with great purity and expression. There were two songs by Mr. J. W. Davison, both taken from his "Vocal Illustrations of Shelley." The first, sung by Miss Bassano, was Beatrice's song, "False friend, wilt thou smile or weep?" from "The Cenci;" an impassioned strain of which the wild and fitfull character has been happily expressed by the composer. The other, "Swifter far than summer's flight," from Shelley's minor poems, was sung by Miss Dolby. Both songs were greatly and deservedly applauded, and the latter was encored. The duet, "Come let us be gone," by H. Smart, was very prettily sung by the Misses Williams. It is an elegant composition, and never fails to please. Mr. Macfarren's trio, "Merrily meet again," sung by Miss Bassano, Madame Macfarren, and Miss Dolby, concluded a concert which may well be called one of the best of the season. The third notice we have before us is from the MORNING POST. The programme, which we insert below, of this musical performance, may account for the unprecedented crowd of visitors that filled up every corner of the Hanover-square Rooms yesterday afternoon. The last appearance of the celebrated Madame Pleyel was one of the great media of attraction - the last grand concert of the season may have been another - but the classical excellence of the selection, and the brilliant galaxy of stars who assisted in interpreting it, a thing so rarely witnessed, rendered surprise at the enormous assembly convoked altogether out of the question : - PART I. Conductor, M. Benedict. Quartet in C (No. 9, Rasoumofsky)- Messrs. Sainton, Sivori, Hill, and Rousselot- of "The Beethoven Quartet Society" Beethoven. Cantata - " Non Temer," Madame Thillon - Pianoforte Obligato, Mr. Lindsay Sloper. Mozart. Sonata in C Minor - Pianoforte and Violin, Madame Pleyel and Signor Sivori Beethoven. Aria - " Ah non lasciarmi" G. A. Macfarren. Beatrice's Song - Miss Bassano, from the " Vocal Illustrations of Shelley" J. W. Davison. Romance - Four Violoncellos, MM. Piatti, Cassella, Baumann, and Rousselot. Rousselot. PART 11. Conductor, Mr. Lindsay Sloper. Sonata in F - Pianoforte and Violin, Madame Pleyel and M. Vieuxtemps Beethoven. Recit. and Aria - " Resta, O Cara," Miss Dolby Pianoforte Obligato, M. Benedict Mozart. Concerto - Pianoforte, Two Flutes, Double Quartet and Double Bass, Messrs. Moscheles, &c., &c. Bach. Duet-" Come, let us be gone," from the " British Vocal Album," Misses A. and M. Williams [It. Smart. Roniai.ee] - " Swifter far than Summer's Flight," Miss Dolby, from the "Vocal Illustrations of Shelley" J. W. Davison. Fantasia - "II Pirata," Pianoforte, Madame [?]evel Kalkbrenner. Canzonet - " The Mermaid," Miss Bassano. Haydn. Trio-" Merrily, meet again," Miss Bassano, Madame Macfarren, and Miss Dolby O. A. Macfarren. The imaginative quartet of Beethoven was given to perfection. Sainton is a player of wonderful energy and precision, and with a violina seconda like the inimitable Sivori, the effect of his broad massive style was supported and enhanced. Hill and Rousselot played with their accustomed skill, and the whole work was received with an enthusiasm worthy the audience of the Beethoven Quartet Society - the founder of which, by the way, we observed in the room, among the most attentive and delighted of the auditors. The sonata in C minor- Beethoven in another humour, gloomy, passionate, and sublime- was the next great instrumental treat. Its exposition by Madame Pleyel and Signor Sivori was a noble display of poetical reading and faultless execution. Madame Pleyel felt all the deep despondency of the music, which illustrates Beethoven in one of those wild and passionate moods that occasionally came over him, and coloured his whole existence with a kind of intermittent melancholy. She gave to the allegro the full measure of its grand despair - to the andante all its world of pathos - to the scherzo its savage exultation - to the finale its rugged and capricious stubbornness. The poetry of Beethoven was explained to the multitude by an orator of sympathetic eloquence. Sivori outshone himself; his execution was marvellously neat and ready - his expression yielded itself with grace and facility to the endless modifications of passion which abound throughout the sonata ; true to his author, he gave the correctest reading to the minutest phrase, while over the whole he threw the impress of his own beautiful and engaging style. The applause at the conclusion was enthusiastic. M. Rousselot's romance is a composition of studied simplicity, underneath which peeps the nameless qualities that constitute the elegant and accomplished musical thinker. It was perfectly rendered by the four admirable violoncellists, and applauded with fervour. Of the sonata in F, as rendered by Madame Pleyel and Vieuxtemps, we have already spoken in terms of appropriate eulogium in our last notice of "The Musical Union." A more exquisitely graceful interpretation of a composition in which grace and tenderness are the predominant elements, we never listened to. The two executants are admirably matched, and the impulse of one is so instantly echoed by the volition of the other, that it is as though one performer, instead of two, were engaged upon the work. The scherzo was encored, and the sonata, from beginning to end, applauded with vehemence and unanimity. The glorious concerto of old Bach has also realised our [mcccl] ? of homage on a previous occasion of its public performance. To Mr. Moscheles is. due the merit of having saved it from neglect, and to his admirable handling of the pianoforte part is due its appreciation by the public. It was played yesterday to perfection ; every performer felt the sublimity of the work, and did his utmost to enforce it. The finale was redemanded, and repeated with increased effect. The last instrumental performance, the brilliant fantasia on the Pirate, was rendered by Madame Pleyel with that astonishing mechanical perfection and that exquisite purity of expression which characterise all her exhibitions in the modern school of pianism. Being the last appearance of the fair pianist for the season, unusual interest was manifested, and the last note of the coda was followed by a general encore ; to which, notwithstanding her previous exertions, the accomplished artist readily acceded, executing, in her own unrivalled manner, the delicious tarantella of Liszt, after la danza of Rossini. This was one of Madame Pleyel's first triumphs in England : she played it at, her first "recital" with prodigious effect, and thus appropriately made it the musical expression of her adieu, or, let us trust, her au revoir, to that public which has so lavishly showered its favours upon her. The vocal music was of an equally interesting order. The two noble compositions of Mozart were admirably sung -the " Non temer" of Madame Thillon was remarkable for facility and elegant reading ; the " Resta, O cara !" of Miss Dolby was passionate, glowing, and expressive. Macfarren's charming "Ah non lasciarmi" was rendered with great feeling by Madame Macfarren, and the elegant and musician-like duet of Henry Smart received ample justice at the hands of the clever Misses Williams. Mr. Davison's two songs from the " Vocal Illustrations of Shelley," were beautifully sung by Miss Bassano and Miss Dolby, the latter, "Swifter far than summer's flight," being honoured with a spontaneous encore, a just tribute to the fine reading of Shelley's words by the admirable vocalist, who positively " sang like an angel," no less than to the melancholy charm of the music, which has all the flow of some quiet old national melody. Mr. Benedict and Mr. Lindsay Sloper executed their obligato pianoforte parts in the songs of Mozart in perfect style. The concert was one of the best of the whole season- whether in regard to the unequivocal excellence of the programme, the celebrity of the artists, or the crowds that thronged the rooms to enjoy it. The reputation of "The Musical World " will be enhanced a hundredfold by this successful display of spirit and liberality in favour of its subscribers. (The Musical world, Saturday, 11 July 1846)

Last of all for the present, but not least of all for any time, is THE TIMES This musical entertainment attracted an overflowing audience yesterday afternoon to the rooms in Hanover-square; all the avenues and lobbies were literally thronged with visitors. Besides being the last concert of the season, the programme presented by the Music World was one of very uncommon merit, both in regard to the music of which it consisted, and the performers engaged to interpret it. It will be seen by the following that the selection of pieces was made with a view to the promotion of a healthy and classical taste in art, the frivolous style of composition, too much encouraged, being, in this instance, wholly abandoned for higher matter PART I Conductor, M. Benedict. Quartet in C (No. 9, Rasoumoffsky), Messrs. Sainton, Sivori, Hill, and Rousselot, of "The Beethoven Quartett Society." - Beethoven. Cantata " Non temer," Madame Thillon, pianoforte obligato, Mr. Lindsay Sloper. - Mozart. Sonata in C Minor, pianoforte and violin, Madame Pleyel and Signor Sivori. - Beethoven. Aria, "Ah non lasciami " Madame Macfarren. - G. A. Macfarren. "Beatrice's Song," Miss Bassano, from the Vocal Illustrations of Shelley. - J. W. Davison. Romance, four violoncellos, MM. Piatti, Casella, Hausmann, and Rousselot. - Rousselot. PART II. Conductor, Mr. Lindsay Sloper. Sonata in F, pianoforte and violin, Madame Pleyel and M. Vieuxtemps. - Beethoven. Recit. ed Aria, "Resta, O Cara," Miss Dolby, pianoforte obligato, M. Benedict. - Mozart. Concerto, pianoforte, two flutes, double quartett, and double bass, Messrs. Moscheles. Carte, De Folly. Willy, Loder, Goffrie, Streather Hill, Westlake, Rousselot, Hausmann, and Flower. - Bach. Duet, "Come, let us begone," from the British Vocal Album, Misses A. and M. Williams - H. Smart. Romance, "Swifter far than Summer's Flight," Miss Dolby, from the Vocal Illustrations of Shelley .- J. W. Davison. Fantasia, - Il Pirata, pianoforte, Madame Pleyel. - Kalkbrenner. Canzonet, "The Mermaid," Miss Bassano. -Haydn. Trio, "Merrily meet again," Miss Bassano, Madame Macfarren, and Miss Dolby. - G. A. Macfarren. The quartett of Beethoven, perhaps the most popular among connoisseurs of the celebrated Rasoumoffsky set, on account of the andante movement in A minor, and the fugued finale, was played with the known perfection of the executants, who have more than once achieved a triumph in the same composition at the meetings of the "Beethoven Quartet Society." Yesterday MM. Sainton, Sivori, Hill, and Rousselot, had to contend with the inconvenience presented by a room of vast proportions, but, nothing daunted, the four enthusiasts seemed inspired with additional vigour, and zealously explained the eloquent meaning of Beethoven to the immense assembly, who listened with profound attention, and applauded with warmth and unanimity. The interest of the audience increased as the work progressed, and the finale, with its astonishing development and prodigious climax, positively electrified them. Madame Thillon sang Mozart's fine cantata with graceful expression and fluent vocalism, and was accompanied admirably by Mr. Lindsay Sloper. It is a pleasure to find so popular an artist as Madame Thillon with a taste and a love for such deep and passionate music as Mozart's, which differs essentially from that in which she has principally achieved her fame. The C minor sonata, for violin and piano, of Beethoven, is one of the grandest inspirations of that wonderful genius; the variety of styles embraced by the different movements presents ample occasion for the development of the kind of quality of which the executants talent may consist. it was incomparably rendered. Madame Pleyel, who has created so unusual a sensation in the brilliant compositions of the modem school, here asserted her supremacy in music of a loftier kind, not less difficult, because more profound. Her reading was highly poetical, her execution masterly and unerring; the andante, in A flat, was an exquisite specimen of cantabile playing, full of pathos, and unblemished by an atom of false sentiment. Sivori played wonderfully - following or leading, as the importance of his own or his comrade's part suggested, with the utmost accuracy and aplomb - in short, more perfect unanimity between two performers could not have been desired. The applause which greeted the two accomplished artists was vociferous-it was a thorough triumph of classical taste, The aria of G. A. Macfarren is replete with tenderness and melody, which the singer, Madame Macfarren, expressed with great fervor. Miss Bassano, in the song of Beatrice, from J. W. Davison's Vocal Illustrations of Shelley, evinced an impassioned feeling, and an unaffected simplicity of expression, entirely in character with the music. She was deservedly rewarded with the loudly expressed approval of the whole room. M. Rousselot's charming romance was a rare treat for connoisseurs; such faultless playing could not fail to create enthusiasm, and the reception was in accordance with the merits of the composition and the ability of the four executants. Madame Pleyel's second essay with Beethoven was not less entitled to unqualified eulogy than her first. The Sonata in F is wholly different in character from that in C minor; in lieu of impetuous energy, it abounds in gracious phrases of the tenderest and sweetest melody, and these. from the fingers of the fair pianist, fell with such purity and unbroken smoothness as betokened the elegant mind which impelled, and the sound judgment which directed her; the performance was altogether one of beautiful and unerring impulse. Vieuxtemps was precisely the violinist to aid Madame Pleyel in the interpretation of this inexpressibly graceful work, a fountain from which melody issues in profuse and grateful showers; he played divinely, expressing and executing with equal ability, phrasing to admiration, and effectively balancing the contrasts and the climaxes with which the detail is coloured and the interest deepened. The scherzo was encored with the strongest marks of enthusiasm. Miss Dolby's Resta O Cara, is worthy of its immortal composer, a noble and classical reading of a noble and classical aspiration remarkable equally for consummate vocal facility and refined expression; it was received with high favour. Of the wonderful concerto of Bach our opinion was given in the notice of Moscheles' farewell concert. It was as effective and spontaneous as ever in the hands of its admirable expositor and his co-operators, wind and stringed. M. Moscheles merits the consideration of all lovers of music for having rescued this remarkable composition from its burying place of oblivion. The finale met with the boisterous encore which is its usual accompaniment. Henry Smart's exquisite duet was gracefully rendered by the Misses Williams. Though long and elaborate, it was listened to with unabated pleasure, and rewarded by loud demonstrations of approval. Madame Pleyel's solo, the well-known Il Pirata, created an absolute uproar; the fair pianist executed it to admiration, and, at the conclusion, the entire audience rose up and cheered her. An encore was inevitable, and Madame Pleyel was forced to return to the orchestra; instead of repeating the Pirata, she substituted the Tarantella, which called forth all that finesse of sentiment and extraordinary mechanical perfection for which she is renowned; the applause at the end was tumultuous - an appropriate tribute to the great artist who thus triumphantly bade farewell to that public which has received her with such unanimous favour. The two vocal pieces announced in the bills to follow the performance of Madame Pleyel were omitted. The audience, feeling that the proper climax of the concert had arrived, would remain for nothing else. Altogether this concert may be regarded as a triumph of classical music over the flimsy taste which has been unjustly ascribed to our audiences. That between 1,100 and 1,200 persons should listen attentively, and applaud enthusiastically, one of the profoundest works of Beethoven, is a great fact in the history of our musical progress. Something however, - nay, much, - must be ascribed to the inimitable talent of the executants, and not a little to the wholesome and gradually increasing influence of the example set by the "Beethoven Quartett Society." (The Musical world, Saturday, 11 July 1846)

"The Musical World" GRAND CONCERT - That we English have a knack of naturalizing the worst foreign fashions is a fact not to be concealed. Our musicians, as a body, "cannot think" of such self-denying study as distinguishes the Germans, - replying indignantly, when it is proposed, "would you have us starve?" Our executants kick against the discipline and practice which have raised Italian singers and French instrumentalists to so brilliant an European reputation. But our artists and artistic critics show too great a disposition to imitate our neighbours in their habits of intercourse; to mistake tamperings with praise, and the employment of personal influences, for the honest support of Plain Truth; and thus, under the idea of mutual profit and advantage, destroy each other, by making Art disreputable. Seeing this clearly, we have been compelled to animadvert, by turns, on the malpractices of our Opera management - the mistakes of the Director of the Musical Union - and the false colour given to undertakings ostensibly charitable, but in reality selfish and oppressive. We have before us, in this concert, another instance of grave mischief to Music, attempted by a musical periodical. We are bound to protest against the measure, and to prove the justice of our objections. This will be best done by referring to the advertisement:- subscribers and the public are informed that the First Annual concert of "The Musical World' will take place on July 8, when the celebrated pianist, Madame Pleyel, will make her last public appearance this season; M.M. Moscheles, Benedict, Vieuxtemps, Sivori, Sainton, Rousselot, Piatti, Hausmann, Casella, Godefroid, Sloper; Misses Dolby, Bassano, M. and A. Williams, Madame Macfarren, &c., will also perform. Subscribers who have paid their subscription up to Christmas, 1846, admitted free, and are requested to forward their names to the Publisher. Tickets, 7s. each; Reserved seats, 10s. 6d. - of the Publisher, &c. Now, an advertisement which invites strangers to assist the subscribers to a journal in filling a small room is foolish - because as significant as the "Pochissimi Signori"! of the Italian Priest to his congregation of two or three. Such a lack of wisdom, however, no more seriously concerns the artists or the public, than the bait of ice some years ago held out by the then proprietors of the English Opera House, when audiences were scanty - or the presents which other journals announce, against quarter-day, of globes, tea-cups and saucers, and such articles of "household stuff." The manner in which the Concert was made up becomes another question. When the Editor of a critical periodical, to render his journal attractive, lays himself under heavy pecuniary obligations to those whom he criticizes - as in the case before us - what chance is there of his duty to Art being performed without fear or favour? What prospect have his readers of getting at the Truth with regard to any musician likely to offer, or to withhold, a contribution towards the programme ? It is ill done in the great artists (however the small ones may be excusable, their need making them liable to temptation) to lend themselves to such proceedings. Their avidity for praise in print is satisfied at a heavy cost, if it imply the loss of public confidence; and though it may be expecting superhuman virtue to ask of Editors to deny themselves immediate profit on the hand-to-mouth system when their victims are so willing, it is not overstrained to expect that musicians having a European reputation should provide for the independence of their class by respecting that of others. The miserable state of matters in Paris - openly avowed and lamented by every person with whom we have conversed on the subject, - the notorious instances of distinguished artists beset by journalists for direct subsidies, - of obscure men, whose merit exceeds their means, unable to get one single unbought word of recognition, - ought to be remembered, as a warning, by our Moscheles', Benedicts, &c. &c. They are doing their best for the annihilation of impartial criticism by playing at the "Grand Concert of the Musical World." But they will not succeed;-if the artists will not save themselves, the public must step in and save them. (The Athenaeum, Saturday, 11 July 1846)

Madame Pleyel and the Musical World Concert, WE resume, with pleasure, the flattering notices of our contemporaries of the press, relative to our first attempt at an annual concert. Such kind words as we cite below, and from such high authority, will serve as an antidote to the venom of certain of our ill-wishers, who are haters and fearers of independent opinion, and healthy and unbiassed criticism. Our first extract is from the JOHN BULL. The musical fever, which has raged for the last three months, has almost subsided. The only public concert of the week has been that given on Wednesday morning, by the proprietors of The Musical World, in imitation of the principal musical journals of Paris. To this concert (announced as being annual) the subscribers were admitted gratuitously, and the public on very moderate terms. It was, beyond comparison, the best morning concert of the season, and was entirely successful, the great Hanover-square room being crowded in every part. The instrumental music consisted of Beethoven's ninth quartet, in C, performed (it is needless to say how) by Sainton. Sivori. Hill, and Rousselot; old Sebastian Bach's fine pianoforte concerto, accompanied by two flutes and a double quartet of stringed instruments, the principal part of which was played by Moscheles; and two of Beethoven's sonatas for the pianoforte and violin, performed by Madame Pleyel, the one with Sivori, and the other with Vieuxtemps. Nothing could be more exquisite than the execution of these two beautiful and classical works, which were listened to with delight, and called forth the most vehement applause. This gifted lady will now leave England, having convinced the amateurs that she is thoroughly conversant with the works of the great classics, and as unrivalled in the art of interpreting them, as she is in the art of clothing the productions of the modern florid school with beauties beyond the reach of their composers themselves. The vocal music was of the same classical character. Two of Mozart's great cantatas, with obligato accompaniments - "Non temer," and' Resta, O Cara," - were sung, the one by Madame Thillon, and the other by Miss Dolby. A very fine Italian song, "Ah, non lasciarmi," composed by Mr. Macfarren, was exceedingly well sung by Madame Macfarren; and Miss Dolby was deservedly encored in Mr. J. W. Davison's song, "Swifter far than summer's flight," from his Vocal Illustrations of Shelley. There were several other pleasing performances, and the whole concert gave the highest satisfaction to the audience. Our next is from the learned columns of ATLAS, One, at least - if not more - of the musical journals of Paris had, long since, adopted the plan of giving an annual concert to its subscribers - partly, we presume, because it is good commercial policy, and partly because a musical periodical of influence and respectability, from its exclusive connection with art and artists, finds in a concert the best possible form of bowing acknowledgment for the patronage of its readers. The scheme answers, in Paris, to universal satisfaction, and the Musical World of London has seen fit to follow the example proprietors having fulfilled their promise of a gratuitous concert to their subscribers on Wednesday morning, at the Hanover-square Room. Had the Musical World no other claims to urge, the fact that, in this great country it is the only periodical solely devoted to an advocacy of what is good in musical art, must entitle it to respect. Its pleading, indeed, is not free from blemishes; - We might desire to find it more temperate in its handling of some subjects, more catholic in its views of others: but in the main, no one can fail to perceive in it the true artist spirit, striving to uphold everything great and enduring, no matter how presently unfashionable - to discourage everything puny and ephemeral, no matter how petted by current prejudice. It is, besides, strong, urgent, and eloquent in its way; it has oftentimes done much needful service, and, with a watchful eye to the many pitfalls that yawn in the road of art - journalism, may yet act a far more important part. The public's opinion, however, of the Musical World, and its concert, might be fitly gathered from the aspect of the room on Wednesday morning, which displayed one of the most crowded audiences we remember to have seen. Of all the concerts without an orchestra, this was unquestionably the best of the season. Nearly all the first executive talent now available was there, and the programme consisted wholly either of such music as all the world consents to pronounce classical, or the composition of such native artiste as strive after right for right's sake. We have not space to notice all the items of the performance, and, therefore, stop only at particular features. And of these, one grand example was certainly the No. 9 of Beethoven's Rasoumoffky quartets, executed by MM. Sainton, Sivori, Hill, and Rousselot. Nothing need here be said of the sublimity, almost unparalleled, of this composition ; scarcely anything of the towering skill with which its labyrinth of difficulties was unravelled by the four great artists, to whom it was committed. Another very prominent attraction was the performance of Madame Pleyel, who played the duet sonatas in C minor, and F of Beethoven - the first with Sivori, the second with Vieuxtemps. The remaining grand feature of the instrumental selection, was the concerto of Sebastian Bach, for pianoforte. with two obligato flutes, magnificently executed by Moscheles, amidst salvos of applause, and - thanks to the good taste of a London concert-room - with an encore for the last movement. The vocalists were Madame Thillon, Misses A. and M. Williams, Dolby and Bassano, and Madame Macfarren. But neither of them nor of the music entrusted to them have we space for further mention - save of the last named lady, who having as yet earned fewer laurels than her sister-vocalists, can less afford to pardon our unintentional slight: Madame Macfarren sang one of the most beautiful of her husband's songs, "Ah! non lasciarmi" - (and beautiful enough it is for anybody), with the feeling of a thorough artist. Her voice is what may technically be called "tender," - it will scarcely bear the pressure necessary for a large concert-room; but her enunciation is energetic to a marvel, and her musical delivery is full of fire and passion. Benedict and Lindsay Sloper officiated as conductors. There are several other warm testimonials in our favor, from members of the weekly press - but we have cited enough for our purpose. (The Musical world, Saturday, 18 July 1846)

"MUSICAL WORLD". - The concert given by the proprietors of the Musical World was the best performance altogether of the season. First and foremost there was Madame Pleyel, who performed sonatas on the pianoforte, by Beethoven, with Sivori and Vieuxtemps (violin) in the first style of excellence. She also played a fantasia, by Kalkbrenner, in a marvellous manner ; and, on being encored, she gave the Tarantella, which quite enraptured the company, whose applause was both universal and continuous; which the highly-gifted pianiste acknowledged in a manner that evidently showed how much she was gratified. Moscheles played a pianoforte concerto by Sebastian Bach, with accompaniments, in a masterly manner, and was loudly encored in the finale ; the character of the music was totally different from that which we are in the daily habit of hearing, and it was highly relished by the admirers of the old school. A quartet for four violoncellos, by Rousselot, was performed by Piatti, Casella, Hausmann, and the composer, and greatly admired, as was also Beethoven's No. 9 Quartet, performed in the first style of excellence by Sainton, Sivori, Hill, and Rousselot. Madame Thillon sang Mozart's Nor Temer, accompanied by Lindsay Sloper; and Miss Dolby gave the same composer's "Resta O Cara," accompanied by Benedict, admirably; she also sang a very clever song from the Vocal illustrations of Shelley, composed by J. W. Davison, which was loudly encored. Miss Bassano sang a charming song by the same composer, "False friend," words by Shelley ; and the Misses Williams were highly successful in a duet by Henry Smart, as was Madame Macfarren in an Italian aria, by her talented caro sposo. From what has been said, it may be gathered that the Musical World concert wound up the season most gloriously. - Bath Herald. (The Musical world, Saturday, 25 July 1846)

The proprietors of the Musical World, the best English musical periodical, at the commencement of the present year promised a concert, in the course of the year, to which subscribers to that paper would receive a free ticket. The following, from the London Daily News, gives a description of the performance: "The principal Parisian musical journals, the Gazette Musicale and the France Musicale, are in the custom of giving several concerts every year, to which their subscribers are gratuitously admitted. This example has now been followed by our well known journal, the Musical World, by whose proprietors a concert was given in the Hanover-square rooms, yesterday morning. It was of a highly classical description, and gave the greatest satisfaction to a crowded audience. The performance began with Beethoven's Ninth Quartet, in C, by Sainton, Sivori, Hill, and Rousselot. Mozart's famous cantata, ' Non temer,' was then sung with great brilliancy and beauty by Madame Thillon, who was admirably accompanied by Lindsay Sloper. The next piece was Beethoven's sonata in C minor, for piano forte and violin, played by Madame Pleyel and Sivori. This lady has now discovered that the English public can understand and enjoy the most refined kinds of instrumental music. The sonata in C minor is one of its author's grand and lofty conceptions, demanding on the part of both performers great executive power, combined with energy, feeling, and the utmost delicacy of style and expression. The performance was a trial of strength between two of the most accomplished artists who now exist - a contest in which both were victorious, for nothing could be more magnificent or triumphant than the effect they produced. Madame Pleyel afterwards played, with Vieuxtemps, Beethoven's sonata in F, the performance of which, at the last meeting of the Musical Union, we have already noticed. She has now, in several public appearances, made the amende honorable, for the exclusive devotion she at first paid to the shallow fashionable style of the day, and has shown that her powers embrace the whole range of the art. Towards the conclusion of the concert she played Kalkbrenner's fantasia on the airs from the 'Pirata.' In all these pieces she received the most rapturous applause, and several movements were encored. A romance for four violoncellos, composed by M. Rousselot, and played by him, Piatti, Casella, and Hausman, gave great pleasure to the audience. It was an andante movement, full of sweet melody, richly harmonized, entirely in accordance with the genius of the violoncello, and unpolluted by any of those scrambling passages which render this noble instrument a bad imitation of the violin. The only other instrumental piece was Bach's concerto for the piano forte, accompanied by two flutes and a double quartette of stringed instruments. Moscheles, who played the piano forte part, had previously introduced it to the acquaintance of the amateurs at his own matinées. It is a charming specimen of the genius of the great old master, showing that he could be light and graceful, as well as profound and sublime There was a good deal of excellent vocal music. Madame Macfarren sung her husband's fine aria, "Ah, non lasciarmi,' with great purity and expression. There were two songs by Mr. J. W. Davison, both taken from his 'Vocal Illustrations of Shelley." The first sung by Miss Bassano, was Beatrice's song, 'False friend, wilt thou smile or weep?' from 'The Cenci;' an impassioned strain, of which the wild and fitful character has been happily expressed by the composer. The other, 'Swifter far than summer's flight,' from Shelley's minor poems, was sung by Miss Dolby. Both songs were greatly and deservedly applauded, and the latter was encored. The duet,' Come, let us be gone,' by H. Smart, was very prettily sung by the Misses Williams. It is an elegant composition, and never fails to please. Mr. Macfarren's trio, 'Merrily meet again,' sung by Miss Bassano, Madame Macfarren, and Miss Dolby, concluded a concert which may well be called one of the best of the season." (Musical Gazette, Monday, 9 November 1846)

Saturday, 19 September 1846 : Mr. Woodward's Evening Concert at Assembly Rooms, Cheltenham.

Assembly Rooms, Cheltenham. Mr. Woodward begs respectfully to announce that a Morning & Evening Concert Will take place at the above Rooms ON SATURDAY, SEPTEMBER 19, 1846, Sustained by the combined Talents of the following very eminent Artistes: MADAME GRISI, SIG. MARIO, SIG. F. LABLACHE, JOHN PARRY, MR. LINDSAY SLOPER, & AND M. BENEDICT. M. Benedict will conduct and perform a Fantasia in the Morning; and MR. LINDSAY SLOPER will conduct and perform a Fantasia in the Evening. In the morning, Doors will be opened at One, and the Concert commence at Two o'clock; in the Evening, Doors will be opened at Seven, and the Concert commence at Eight precisely. Tickets, 7s. 6d. each; Family Tickets, to admit four, 26s. each; to be had at Mr. Woodward's Warehouse, 14, Promenade Villas; the Montpellier Library; and the Assembly Rooms. Reserved Seats, 10s. each, to be had at the Assembly Rooms only, where a plan may be seen. Books of the Words Sixpence each. It is respectfully intimated that no Places can be kept, except those for which Reserved Tickets have been purchased. (Cheltenham Looker-On, Saturday, 12 September 1846)

Assembly Rooms, Cheltenham. Mr. Woodward begs respectfully to announce that a Morning & Evening Concert Will take place at the above Rooms THIS DAY (SATURDAY), SEPTEMBER 19, 1846, Sustained by the combined Talents of the following very eminent Artistes: MADAME GRISI, SIG. MARIO, SIG. F. LABLACHE, JOHN PARRY, MR. LINDSAY SLOPER, & AND M. BENEDICT. M. Benedict will conduct and perform a Fantasia in the Morning; and MR. LINDSAY SLOPE will conduct and perform a Fantasia in the Evening. In the morning, Doors will be opened at One, and the Concert commence at Two o'clock; in the Evening, Doors will be opened at Seven, and the Concert commence at Eight precisely. Tickets, 7s. 6d. each; Family Tickets, to admit four, 26s. each; to be had at Mr. Woodward's Warehouse, 14, Promenade Villas; the Montpellier Library; and the Assembly Rooms. Reserved Seats, 10s. each, to be had at the Assembly Rooms only, where a plan may be seen. Books of the Words Sixpence each. It is respectfully intimated that no Places can be kept, except those for which Reserved Tickets have been purchased. (Cheltenham Looker-On, Saturday, 19 September 1846)

Musical Tours.-Grisi, Mario, F. Lablache, and John Parry, with Benedict as accompanyist, sang the concert of the Shrewsbury Choral Society to 800 persons, and were encored in nearly all their pieces. the 17th, they were at evening concert at Wolverhampton. On the 18th at morning one at Learnington.On the 19th they had a morning concert at Cheltenham; after which Benedict quitted the party for Germany, and was replaced at the evening concert by Lindsay Sloper. Last Monday night they were at an evening concert at Plymouth, and on Tuesday evening at Exeter. Wednesday morning they visited Clifton, and at night delighted the Bath amateurs. Thursday morning they sang Reading, and in the evening they were at Mr. Carter's concert at Greenwich. This expedition was closed yesterday Brighton, and Grisi and Mario were to have quitted England for Paris this day ; but we learn that their stay is likely to be prolonged for concert on the [?]st. (Illustrated London News, Saturday, 26 September 1846)

Monday, 21 September 1846 : Mr. P. E. Rowe's Two Grand Concerts (Morning and Evening) at Royal Hotel Assembly Rooms, Plymouth.

… TWO GRAND CONCERTS. MADAME GRISI, SIGNOR MARIO, SIGNOR F. LABLACHE, MR. JOHN PARRY, MISS CATHERINE BRIGHT, AND MR. LINDSEY SLOPER. … [Abridged] MR. P. E. ROWE Has Um feooosr sneouiM* sn4 Gentry. tWt bs SBgassd dw above distinguished Artist for TWO GRAND CONCERTS, On MONDAY, Sept. 21, 1846. Mr. Lindsey Sloper will at aa Erard's Piano Porta. la Um Homing at ROYAL HOTEL ASSEMBLY ROOMS. Doors open One o'Clock. Concert to commence at Two. Reserved Seats. 10s 44. 8!n"la Tickets. 7a. Family Ticket to admit (Western Courier, West of England Conservative, Plymouth and Devonport Advertiser, Wednesday, 9 September 1846)

… TWO GRAND CONCERTS. MADAME GRISI, SIGNOR MARIO, SIGNOR F. LABLACHE, MR. JOHN PARRY, MISS CATHERINE BRIGHT, AND MR. LINDSEY SLOPER. … [Abridged] MR. P. E. ROWE Has the honour sneouiM* sn4 Gentry. tWt has engaged the above distinguished Artist for TWO GRAND CONCERTS, On MONDAY, Sept. 21, 1846. Mr. Lindsey Sloper will at aa Erard's Piano Porta. la Um Homing at ROYAL HOTEL ASSEMBLY ROOMS. Doors open One o'Clock. Concert to commence at Two. Reserved Seats. 10s 44. 8!n"la Tickets. 7s. Family Ticket to admit .. (oband Concerts PiTMOtma.-lt will be observed from advertisements, to which we beg call the attention of our readers, that Mr. Rowe will give two grand concerta at Plymouth, on Monday next, when those artists Madame Grisi and Signor Mario together with Signor P. Lablache, the inimitable and irreeulable John Parry, Miss Catherine Bright, and Mr. Lindsey Sloper, the celebrated pianist, will combine attractions. Such a galaxy uleol very rarely met with, and we only regret that we have not now space in which advert to the very splendid treat in store for all who may present on the occasion. (Western Courier, West of England Conservative, Plymouth and Devonport Advertiser, Wednesday, 16 September 1846)

Tuesday, 22 September 1846 : Messrs. D. & F. Smith's First Grand Concert at Royal Subscription Rooms, Exeter.

Devon and Exeter Subscription Concerts, (second series.) MESSRS. D. and P. SMITH, have the honor to announce to their Patrons, the Nobility, Gentry, and Musical Public of the West of England, that they have made arrangements to give, on a scale of increased magnitude and attraction, a series of THREE GRAND CONCERTS, in Exeter, (by Subscription,) during the ensuing Autumn and Winter Months, with an Orchestra capable of performing the works of the great masters. The experiment of introducing, at intervals, a succession of Vocal and Instrumental performances of high character, has been felt to be one of much difficulty, and the expense enormous. The result of the first series cannot therefore be said to be remunerative, though in other respects highly successful, the performances nightly attracting the most brilliant audiences ever assembled in Exeter. It is with feelings of increased confidence and satisfaction that the projectors of these Concerts, profiting by past experience, and relying on public appreciation, submit for the approval of their Patrons, the present scheme, and they venture to give expression to the hope that Subscribers will condescend to aid their endeavours, and lessen individual responsibility, by using their kind influence among friends with a view to increased patronage. The first Concert will be given On Tuesday Evening, Sept. 22, 1846. Engagements have already been made with MADAME GRISI, SIGNOR MARIO, SIGNOR F. LABLACHE, MR. LINDSAY SLOPER, MR. JOHN PARRY, and arrangements are pending with other Artistes of celebrity, to give every effect and variety to the series. Conductor-Mr. KELLOW J. PYE, Mus. Bac Terms of Subscription for the Three Concerts : - £. s. d. Tickets to admit Three Members of one Family 2 12 6 Tickets to admit Two in the same Family 1 15 0 A Single Transferable Ticket 1 1 0. Subscribers names will be thankfully received as early as possible, at Messrs. Smiths', of whom every information may be obtained. Music Emporium, Exeter, August 1840. (Western Times, Saturday, 29 August 1846)

Devon and Exeter Subscription Concerts, -Messrs. Smith of this city, to whom the inhabitants are already so much indebted for their exertions in providing for them musical entertainments of the highest character, have announced their intention of giving a series of three Grand Concerts, the first to take place on September 22nd. They have already engaged those eminent singers Grisi, Mario, F. Lablache, Lindsay Sloper, and Parry. Mr. Kellow Pye is to be conductor. The orchestra is to be on a most splendid scale. There can be no doubt, this effort to provide intellectual entertainment of the highest character will be duly appreciated and worthily patronised. (Western Times, Saturday, 29 August 1846)

Messrs. D. & F. SMITH'S GRAND CONCERT, WILL be given in the SUBSCRIPTION ROOMS, Exeter, On TUESDAY EVENING, SEPTEMBER 22nd, the following eminent Artistes are engaged:- MADAME GRISI, SIGNOR MARIO, SIGNOR F. LABLACHE, MR. LINDSAY SLOPER, HERR HAUSMANN and MR. JOHN PARRY, CONDUCTOR Mr. KELLOW J. PYE,- Admission half-a-Guinea. To insure convenient accommodation, it is indispensable that Tickets be previously obtained at Messrs. SMITHS' Music Emporium, Exeter. (Trewman's Exeter Flying Post, Thursday, 3 September 1846) (Also: Exeter and Plymouth Gazette, Saturday, 12 September 1846; Western Times, Saturday, 12 September 1846; Western Times, Saturday, 12 September 1846; Exeter and Plymouth Gazette, Saturday, 12 September 1846; Exeter and Plymouth Gazette, Saturday, 5 September 1846; Trewman's Exeter Flying Post, Thursday, 10 September 1846; Exeter Flying Post, Thursday, 3 September 1846; Exeter Flying Post, Thursday, 10 September 1846.)

Messrs. Smiths' first grand concert is announced to take place on the 22nd inst. From the preparations which have been already made, and the number and high talent of the celebrated performers already engaged, there is no doubt this will be one of the most brilliant and attractive displays ever witnessed in this city. The performers already announced are Madame Grisi, Signor Mario, Signor F. Lablache, Mr. Lindsay Sloper, Herr Hausmann and Mr. John Parry. Mr. Kellow Pye is to be conductor. The enterprise and public spirit of Messrs. Smith, in thus bringing before the citizens of Exeter the highest metropolitan talent; and also providing an orchestra, capable of giving complete effect to the works of the great masters, will no doubt receive that full amount of patronage which is so well merited. (Western Times, Saturday, 5 September 1846)

Messrs. D. & F. SMITHS'S GRAND CONCERTS. THE FIRST of the SERIES will be given in the ROYAL SUBSCRIPTION ROOMS, EXETER, On TUESDAY Evening, 22nd Sept inst. VOCALISTS: MADAME GRISI, SIGNOR MARIO, SIGNOR F. LABLACHE, AND MR. JOHN PARRY. PIANOFORTE: MR. LINDSAY SLOPER, Who will play a brilliant FANTASIA. VIOLINS: MESSRS. RICE, PRIDHAM, AND J. RICE. VIOLONCELLO: HERR HAUSMANN, Who will play a SOLO. As the Vocal engagements for this night present the most distinguished attraction the Country can offer, the Instrumental arrangements will be on a limited scale. TICKETS, HALF A GUINEA EACH, To be had at Messrs. SMITH'S Music Emporium. Doors open at Seven - Concert at Eight. (Trewman's Exeter Flying Post, Thursday, 17 September 1846)

Messrs. D. & F. SMITHS'S GRAND CONCERTS. THE FIRST of the SEIRIES will be given in the ROYAL SUBSCRIPTION ROOMS, EXETER, On TUESDAY Evening, 22nd Sept inst. VOCALISTS: MADAME GRISI, SIGNOR MARIO, SIGNOR F. LABLACHE, AND MR. JOHN PARRY. PIANO FORTE: MR. LINDSAY SLOPER, Who will play a brilliant FANTASIA. VIOLINS: MESSRS. RICE, PRIDHAM, AND J. RICE. VIOLONCELLO: HERR HAUSMANN, Who will play a SOLO. As the Vocal engagements for this night present the most distinguished attraction the Country can offer, the Instrumental arrangements will be on a limited scale. TICKETS, HALF A GUINEA EACH, To be had at Messrs. SMITH'S Music Emporium. Doors open at Seven - Concert at Eight. - Books of words Sixpence each, at the door. - The Directors of the South Devon Railway have obligingly ordered that a Special Train be run from Exeter after the Concert, at a quarter past Eleven o'clock London time. (Exeter and Plymouth Gazette, Saturday, 19 September 1846) (Also: Western Times, Saturday, 19 September 1846; Western Times, Saturday, 19 September 1846; Exeter and Plymouth Gazette, Saturday, 19 September 1846.)

DEVON AND EXETER GRAND CONCERTS. The first of the series of Devon and Exeter Grand Concerts took place on Tuesday, at the Royal Subscription Rooms in this city ; and we are happy in being able to congratulate our fellow citizens, as well as the county generally, on the good taste which led them so liberally to patronize the efforts of our spirited townsmen Messrs. D. & F. Smith. The concert was numerously attended by the fashion and elite of Exeter and its vicinity, who seemed thoroughly to appreciate the united efforts of Grisi, Mario, F. Lablache, and John Parry,-forming a galaxy of talent seldom attainable in this neighbourhood. Madame Grisi retained the character she has so justly earned, of being the first cantatrice of the present day. The Rondo by Verdi. " Non fu Sogno," was executed with inimitable brilliancy; and the Duet with Mario, from " La Donna del Lago" with great pathos, she also displayed much humour in the Duo Buffo "LaProva" with Lablache. Signor F. Lablache is closely following the steps of his celebrated father, and becoming an universal favourite. He gave the Cimarosa Aria and La Tarantella in excellent style, and ably sustained his part in the splendid Terzetto by Verdi, with Grisi and Mario. We cannot speak too highly of Signor Mario's voice ; indeed, but for its sweetness, it might have been considered almost too powerful for the room. His manner of giving the Adelaida of Beethoven was unequalled;-and when deservedly encored he sang his favourite little Serenade, from Don Pasquale, "Come Gentil," a thrill of mingled pleasure and surprise ran through the audience on hearing Grisi and Lablache from behind the scenes taking up the air in a playful manner, and forming an exquisite trio, the effect of which must have been heard to be appreciated. Our old favourite (and a most deserving one he is too) John Parry won thunders of applause. In his excellent new song "The London Season," every novelty was introduced. He then parodied the opera of Massaniello, in a style which none but himself could have attempted ;-indeed we scarcely know whether his voice, manner, or touch of the piano is most to be admired. He gained an "encore," and retained the delighted audience at the last with "Foreign Affairs," &c. The Orchestral part was well arranged and ably sustained. Spohr's 1st movement in C minor, and Haydn's 81st Quartett were executed with great care, by Mr. L. Sloper on the piano, Herr Hausmann on the violoncello, and the admirable violins of Rice, Pridham, J. Rice, &c. Herr Hausmann gave a splendid Fantasia on Scotch airs, and Mr. Lindsay Sloper a brilliant morceau on the piano, performed with remarkable power of execution. As these vocal and orchestral stars cannot be brought into the provinces without enormous expense, we trust the lovers of genuine music will immediately come forward to aid Messrs. Smith in their future concerts, so that they may be enabled to procure some of the grandest of the grand in the German school, -we allude to Pischek, Herr Staudigl, &c, which would indeed afford a delightful novelty and treat. (Exeter and Plymouth Gazette, Saturday, 26 September 1846) (Also: Exeter and Plymouth Gazette, Saturday, 26 September 1846.)

EXETER SUBSCRIPTION CONCERTS. The first of these concerts took place on Tuesday evening, at the Subscription Rooms, the attendance was large and fashionable, but we expected to find the room filled to overflowing, which was not the case. The spirit and enterprise which the Messrs. Smith have shown and the very serious expence which they must have incurred, in bringing before an Exeter audience such a splendid array of first rate talent, deserved a more substantial and extended patronage than was granted. It will not redound much to the credit of Exeter as a city of taste, if this attempt of the Messrs. Smith to establish a first class intellectual gratification shall fail for want of adequate support. It can hardly be expected that they or any other persons will continue to minister to the public if honour and pecuniary loss are to be the only rewards. It is however to be hoped that this will not be the result of the present effort. The weather on Tuesday evening was not very inviting, and this fact may account for the absence of some who might have been expected as patrons on the occasion. Added to this is the circumstance that some of the Devonshire families of distinction are now absent from the county. It may therefore be, that there is no want of appreciation of Messrs. Smiths' effort, and that at the next concert the patronage will be such as to induce them to renew year by year, their efforts for the public entertainment. Amongst the company on Tuesday, we noticed Lady Elizabeth Courtenay and party. The family of Sir R. W. Newman, Bart., Honourable Miss Courtenay and party. Mrs. Kekewich and party, (Peamore), Sir John and Lady Duntze, Honourable Mr. Pellew, Saville Kent, Esq., and party, (Sidmouth), W. Ley, Esq., and party. (Woodlands), Mrs. Fursdon and family, (Fursdon), C. Gordon, Esq., and party, E. Divett, Esq., m.p. and party, Mrs. Swete and party, (Oxton), Miss Northcote and party, (Pynes), M. Kennaway, Esq., and party, Dr. and Mrs. Fennell, James Jerwood, Esq., and Mrs. Jerwood, Lawrence Park, Esq., (Haldon), Mrs. Hamilton and party, (Retreat), Captain Locke Lewis, Dr. Shapter, J. Follett, Esq., and Mrs. Follett, J. Carew. Esq., D. Moore, Esq., Dr. Blackall, Revds. Canon Bartholomew, Canon Rogers, Sub-dean Stephens, A. Atherley, G. P. Shield, F. Courtenay, &c, &c. The Concert began with Spohr's Quintett in C. Minor, (the first movement), executed by Messrs. Sloper, Rice, Pridham, J. Rice and Hausmann, a highly refined performance by all hands, and exceedingly effective. A Duet from Donizetti's Belisario '' Quando di sangue tinto " was given to perfection, by Mario and Lablache, and received with loud approval. Both singers were in excellent voice. An Aria of Cimarosa's, "Sei morelli" by Lablache followed, when the queen of song was introduced by Mario, in Rossini's charming Duet "Scindi nel piccol," from the opera of La donna del Lago-this was the perfection of singing, and most deservedly won an encore. Grisi sang with the same exquisite taste and pathos, an Aria from the opera of Anna Bolena, "Al Dolce Guidami," and was followed by Mario, in the scene from Sonnambula, " Tutto e sciolto " (all is lost now), which brought out the full power of his fine voice-the applause succeeding this performance was immense. Our established favourite, for so we can now call Hausmann, who formed an important part of the orchestra all through the last year's series, gave a Fantasia on the violincello, with piano forte accompaniment, this performance was warmly appreciated, and enthusiastically applauded by the audience. Next followed a Trio,"Solingo errante, misero," in which Grisi, Mario, and Lablache received a hearty encore. On John Parry's entrance into the orchestra, he was greeted with loud and unanimous plaudits, and as a matter of course his "London season " was re-demanded, on which he gave " Masaniello" with most inimitable drollery. The second part commenced with a Quartett of Haydn's, nicely played by Rice, Pridham, J. Rice, and Hausmann, followed by Rossini's Duet, " Marinaro in Guardia sta," admirably sung by Mario and Lablache. Mr. Lindsay Sloper, in a brilliant Fantasia on the piano forte, evinced his mastery over the instrument, and the usual favors were awarded to him. Grisi's Rondo, from Verdi's new opera Lombardi, " Non fu Sogno," narrowly escaped an encore. Beethoven's Cantata "Adelaida" a composition that contains all the grace, beauty and delicacy to which art, united with genius can attain, was exquisitely given by Mario, and on his being encored, he gave the famous Serenade from Don Pasquale, in which the audience were perfectly electrified by the vocal assistance of Grisi and Lablache, given behind the screen. The degree of enthusiasm that burst from the audience at the end of the first verse exceeded anything of the kind within our recollection, and the applause at its conclusion was equally energetic. The Buffo Duet " Oh Guardate " was most humourously sung by Grisi and Lablache. Parry's new song " Foreign affairs " was of course encored, the night's entertainment wound up with another of his laughter provoking performances. We know not which most to admire, his vocal or instrumental tact, they are alike inimitable. (Western Times, Saturday, 26 September 1846)

Wednesday, 23 September 1846 : Mr. Henry Simms's Grand Morning Concert at Assembly Rooms, Bath.

GRAND MORNING CONCERT OF UNPRECEDENTED ATTRACTION. ASSEMBLY ROOMS, BATH. MR. HENRY SIMMS has the pleasure to announce A CONCERT to TAKE PLACE IN THE ASSEMBLY ROOMS, Bath, On WEDNESDAY MORNING, Sept. 23d, 1846; For which special occasion he has engaged the following celebrated Artistes from her Majesty's Theatre :- Madame GRISI, AND Signor MARIO, Signor F. LABLACHE, Mr. JOHN PARRY. Also the new and very distinguished Pianist, Mr. LINDSAY SLOPER, Their only appearance in Bath. Terms of Admission-Gallery Stalls (for which places can be secured), 7s ; Room Tickets, 5s. To be obtained only at Mr. H. Simms's Piano-Forte and Music Warehouse, and at the Rooms. To Commence at Two o'clock precisely. An early application for Tickets is earnestly requested. Programmes will be ready in a few days. (Bath Chronicle and Weekly Gazette, Thursday, 27 August 1846) (Also: Bath Chronicle and Weekly Gazette, Thursday, 3 September 1846; Bath Chronicle and Weekly Gazette, Thursday, 10 September 1846; Bath Chronicle and Weekly Gazette, Thursday, 10 September 1846; Bath Chronicle and Weekly Gazette, Thursday, 17 September 1846.)

Grand Morning Concert. -Mr. H. Simms has just completed arrangements for a grand Morning Concert, to take place on Wednesday, September 23d, at the Assembly Rooms, for which occasion he has engaged Madame Grisi, Signor Mario, Signor F. Lablache, Mr. John Parry, and the distinguished new pianist, Mr. Lindsay Sloper, of whom report speaks in the highest terms. The occasion will, therefore, be of unusually high interest.- See advt. (Bath Chronicle and Weekly Gazette, Thursday, 27 August 1846)

GRAND MORNING CONCERT. - We are happy to learn that Mr. H. Simms has just completed arrangements for a grand Morning Concert, to take place about the end of September, at the; Assembly Rooms, for which occasion he has already engaged Madame Grisi, Signor Mario, Signor F. Lablache, Mr. John Parry, and the very distinguished new pianist, Mr. Lindsay Sloper, of whom report speaks in the highest terms." - Bath Gazette, 26th August. (The Musical world, Saturday, 29 August 1846)

Grand Concert at the Assembly Rooms. Those of the music-loving public of Bath and its neighbourhood who are not wandering on the shores of our British seas, or recreating themselves with inland excursion, foreign or otherwise, have much occasion to be obliged to Mr Henry Simms for providing them with an entertainment such as that of yesterday, when Madame Grisi, Signor Mario, Signor F. Lablache, Mr. John Parry, and Mr Lindsay Sloper made their appearance at the Assembly Rooms. This array of names, is at once a sufficient guarantee of the high character of the concert. The performers, with the exception of Mr. Lindsay Sloper, being all familiar acquaintances of the Bath public, we are spared the necessity of general remarks on their qualifications. The splendid voice and consummate science of Grisi had all the old charm and drew forth the most enthusiastic plaudits. She was warmly encored in the duetto with Signor Mario "Scende nel piccol," which was most admirably given. A similar compliment was paid to her cavatina "Havvi un Dio," and in the duo buffo, " Con pazienza," with F. Lablache, she was greeted with shouts of approbation. Mario, too, received the warm homage due to his distinguished talents. His execution of the romanza,"Canzon Toscano," was exquisitely beautiful, and elicited a rapturous encore. It would be difficult to speak too highly of either of his performances on the occasion. F. Lablache had no reason to complain of not being appreciated, his reception being as cordial as it was well deserved. John Parry as usual, carried off a "lion's share" of the morning's applause, the first glimpse of his face is the signal for the commencement of hearty mirth, and the anticipations thus excited are always realized to the full. Nothing could exceed the rich raciness of the fun - instrumental and vocal - which he created on the present occasion, and which kept the audience in an almost continual titillation of irrepressible laughter. He, of course, had to pay the penalty of his cleverness in sundry encores. High expectations had been raised by the announcement that Mr. Lindsay Sloper would perform at this concert, and they were not disappointed. He proved his powers to be of the most eminent description, and that while he possesses qualifications which have given fame to other distinguished pianists, he has much which is exclusively his own, stamping him as an artist of truly original genius. One excellent feature of his performance yesterday was, that he was never, so to speak, upon stilts-that he avoided that overstrained anxiety betrayed by some performers, in common with a certain class of writers, to be always making points. His most triumphant efforts left an impression on the mind that he could have done much more if he had liked, and that he did no more simply because the occasion did not require it. We wish we could see more of this commendable self-denial on the part of musical performers we should then have more genuine music, in place of that straining after superfluous and unmeaning display -that attempting to extract from things more than they can legitimately yield-which honest Sancho Panza graphically describes as "looking for five legs in a cat." We have seldom been more delighted than we were with Mr. Sloper's performance, and we feel assured that the audience generally concurred to the full with the metropolitan critics, who have awarded him so high a place among our living pianists. We have only to add that the attendance at this admirable concert was very numerous and fashionable, the large room being quite filled, and that the approbation of the performances, whether considered as a whole or in detail, was unanimous and enthusiastic. (Bath Chronicle and Weekly Gazette, Thursday, 24 September 1846)

We perceive by the provincial papers that the Grisi and Mario party, who have lately been giving concerts in different parts of the country, have, during the past week, been joined by our young and gifted countryman, Mr. Lindsay Sloper, who had gained "golden opinions" at Bath, Exeter, Plymouth, and other places, by his masterly performances on the pianoforte. We are glad to find this; for the genius which our own country produces, has only to be known to ensure for it an appreciation throughout the breadth of the land. (John Bull, Saturday, 26 September 1846) (Also: John Bull, Saturday, 26 September 1846; John Bull, Monday, 28 September 1846.)

BATH.-The public of our city and neighbourhood were regaled on Wednesday with a musical treat of the highest character, by the appearance before them of those eminent professors of the vocal art, Grisi, Mario, and F. Lablache, aided by Mr. John Parry and Mr. Lindsay Sloper. Grisi, as is her wont, sang with extraordinary power and sweetness. Her matchless execution was conspicuously displayed in a cavatina, "Maria de Rohan," and in obedience to the unanimous wishes of her numerous auditors a repetition was accorded. The fair cantatrice was similarly honoured in the duet with Mario, Scendi nel piccol." Mario, who divided the honours of the day, was loudly applauded and listened to with intense pleasure in several gems of Italian song. His fine voice and splendid execution were duly appreciated. In particular, we may mention Donizetti's "Vivi tu," as one of his most successful efforts. The third vocalist in this eminent trio was F. Lablache, who, in several buffo songs and in his duets with Grisi, proved himself worthy the name of his celebrated father. John Parry was original and comic to the highest degree. He brought two new songs, equal to any that have gone before. He is not only a clever mimic and a talented comedian, but he possesses abilities as a pianist of no mean order. Mr. Lindsay Sloper proved himself an accomplished pianist. He played a fantasia with a brilliance that was highly pleasing - the more so that he disdained any resort to the claptrap of the day, which would identify (if it could) noise with music, and substitute sleight of hand for a legitimate development of the resources of the instrument. - Bath and Cheltenham Gazette. (The Musical world, Saturday, 3 October 1846) (Also: The Musical world, Saturday, 3 October 1846.)

Wednesday, 23 September 1846 : Grand Concert at Theatre Royal, Clifton.

GRAND CONCERT AT THE THEATRE ROYAL. - The musical public of Bristol and Clifton will perceive, by an advertisement in another column, that a splendid treat is prepared for them at the Theatre, on Wednesday, September 23rd, for which special occasion the incomparable vocalists, Madame Grisi, Signor Mario, Signor F. Lablache, and Mr. John Parry are engaged, also, the new pianist, Mr. Lindsay Sloper, whom the London critics pronounce to be equal to the greatest pianists of the day, not excepting Thalberg and Madame Pleyel. With such pre-eminent attraction a crowded and brilliant assemblage may be fully expected. (Bristol Mercury, Saturday, 12 September 1846)

GRAND CONCERT OF UNPRECEDENTED ATTRACTION! THEATRE-ROYAL, BRISTOL. It is respectfully announced that a GRAND CONCERT will take place at the THEATRE-ROYAL, on WEDNESDAY 3 EVENING, September 23rd, 1846, for which special occasion the following very celebrated Artistes have been engaged:- MADAME GRISI AND SIGNOR MARIO, SIGNOR F. LABLACHE AND. MR. JOHN PARRY, Who will sing several entirely-new and highly-popular BUFFO SONGS. Also the new and very distinguished Pianist, Mr. LINDSAY SLOPER, being positively their only appearance in Bristol. Tickets-Dress-Circle 8s.; Upper Boxes, 4s.; Pit, 2s. 6d.; Gallery 1s. 6d. To be had at the Music Warehouses of Messrs. Hodges, Howell, Cockrane, Smith, &c., and at the Theatre Royal, where places for the Boxes may be taken. The Doors will open at Seven, and the Concert commence at Eight o'clock precisely. Programmes are now ready at all the Music Warehouses, &c (Bristol Mercury, Saturday, 19 September 1846)

GRAND CONCERT. A concert took place at the Theatre, on Wednesday evening, in which Madame Grisi, Signor Mario, Signor F. Lablache and John Parry, took part; Mr. Lindsay Sloper, the celebrated pianist, officiating as conductor - The house was crowded, and, we may almost say, that the concert was encored - so numerous were the pieces called for a second time, Grisi (the prima donna), Mario and Lablache were not only in good voice, but - doubtless stimulated by the appearance of the house and the cordial applause bestowed upon their efforts in excellent spirits, and sang with great energy and effect. Perhaps Grisi's bird-like notes and brilliant execution, and Mario's fine manly tenor and pure style, have seldom been heard to more advantage. As an instance of the disposition of the audience, we may mention that Mario, on being encored in Alary's romanza, "Venezia, dolce e bella" substituted "Com'e gentil" (the serenade), from Donizetti's Don Pasquale and that this latter charming composition was also called for, and repeated midst a storm of applause. Although the enjoyment of a miscellaneous audience must necessarily be marred to a great extent on such occasions, in consequence of want of acquaintance with "that soft, bastard Latin" - the Italian language - and although the attendance and applause is, doubtless, in no inconsiderable degree, to be attributed to fashion, still the audience, on Wednesday, appeared heartily and unaffectedly to relish the performance. Signor F. Lablache sung the comic aria,"Miel rampolli," from Cenerentola with great spirit; and John Parry, on being encored (as usual) in two amusing new productions entitled "the London Season, and "Foreign Affairs," substituted a burlesque version of Massaniello, and Matrimony" - Mrs Lindsey Sloper, the last wonderful discovery in the pianoforte line, made his grand display in a fantasia, illustrative of the "pursuit of music under difficulties," in which his entire command of the instruments was exhibited; though, of course, Mr. Sloper did not play half so well as if he called himself Signor Slopero, or Herr Schlopsch. The concert was completely successful. (Bristol Mercury, Saturday, 26 September 1846) (Also: Bristol Mercury, Saturday, 26 September 1846.)

GRAND CONCERT. A concert took place at the Theatre, on Wednesday evenIng, in which ,Madame Grisi, Signor s Mario, Signor F. Lablache and John Parry, took part; Mr. Lindsay Sloper, the celebrated pianist, officiating as conductor. The house was crowded, and, we may almost say, that the concert was encored -so numerous were the pieces called for a second time, Grisi (the prima donna), byarno and Lablache were not only in good voice, but - doubtless echnulated by the appearance of the house and the cordial applause bestowed upon their efforts -in excellent spirits, and sang with great energy and effect. perhaps Grisi's bird-like notes and brilliant execution, and Mario's fine manly tenor and pure style, have seldom been heard to more advantage. As an instance of the disposition of this audience, we may mention that Mario, on being encored in Alaryo s romanza, Venedia, T doles e bell substituted "Com' gentil" (the serenade), from Donizetti's Don Pasquale third of se wind that this latter charming composition was also called for, and repeated midst a storm of applause. Although the enjoyment of a miscellaneous audience must not necessarily be marked to a great extent on such occasions, in consequence of a lack of acquaintance with that ect, bastard Latin's - the Italian language - and although the attendance and applause is, ess, in no inconsiderable degree, to be attributed to fashion, still the audience, on Wednesday, appeared heartily and unaffectedly to relish he performance. Signor F. Lablache sung the comic aria, "i1e1 rampolli, from Cenerentola with great spirit; and John Parry, on being encored (as usual) in two amusing new productions entitled Te London Season, and "Foreign Affairs," substituted a burlesque version of Massaniello, and Matrimony" - Mrs Lindsey Sloper, the last wonderful discovery in the pianoforte line, made his grand display in a fantasia, illustrative of the "pursuit of music under difficulties," in which his entire command of the instruments was exhibited; though, of course, Mr. Sloper did not play half so well as if he called himself Signor Slopero, or Herr Schlopsch. The concert was completely successful. (Bristol Mercury, Saturday, 26 September 1846)

Thursday, 24 September 1846 : Grand Morning Concert at Town Hall, Reading.

GRAND MORNING CONCERT, TOWN HALL, READING. (By Permission of the Worshipful the Mayor.) UNPRECEDENTED COMBINATION OF TALENT. ITALIAN OPERA PARTY have the honour to announce to the Nobility and Gentry of Reading and the neighbourhood, that they intend to give a GRAND CONCERT of Vocal and Instrumental Music, on Thursday 24th September, 1846, to commence at One o'clock. The following unrivalled Artistes are engaged for the occasion: MADAME GRISI, Prima Donna of Her Majesty's Theatre; SIGNOR MARIO, Primo Tenore of Her Majesty's Theatre; SIGNOR F. LABLACHE, Prime Buffo Cantate of Her Majesty's Theatre; MR. CORRI, Pupil of Signor Lablache; MR. JOHN PARRY, The Inimitable English Buffo Singer; And the celebrated Pianist, MR. LINDSAY SLOPER, Who will display his extraordinary execution on one of Erard s new patent Victoria Grand Pianofortes, which will be sent from Town expressly. Single Tickets, Seven Shillings; Family ditto, to admit Four Persons, Twenty-four Shillings each, to be had of Mr. Golding, Hall-keeper, Friar-street, Reading. To prevent disappointment an early application for Tickets is suggested, as from the crowded state of the room last year the number has been necessarily limited. (Berkshire Chronicle, Saturday, 19 September 1846) (Also: Berkshire Chronicle, Saturday, 19 September 1846; Reading Mercury, Saturday, 19 September 1846; Reading Mercury, Saturday, 19 September 1846.)

Thursday, 24 September 1846 : Mr. Carte's Grand Evening Concert at Lecture Hall, Greenwich.

MADAME GRISI - Mr Carte has the honour to announce a GRAND EVENING CONCERT to take place at the LECTURE HALL, GREENWICH, on THURSDAY next, on which occasion Madame Grisi, Signor Mario, and Signor F. Lablache will give selections from the Italian operas. Mr. John Parry will give his last new Buffo scenes and sketches. Solo performance. Pianoforte: Mr. Lindsay Sloper; Violin: Mr. Willy now Boehrn; Flute: Mr. Carte; Conductor: Mr. Lindsay Sloper.- For particulars see the Bills. (Daily News, Monday, 21 September 1846) (Also: The Times, Monday, 21 September 1846.)

MADAME GRISI.-TO-MORRROW EVENING - Mr. Carte's CONCERT, Lecture Hall, Greenwich. -The following distinguished artistes from her Majesty's Theatre will appear -Madame Grisi, Signor Mario, and Signor F. Lablache. Mr. John parry will give his last new buffo scenes and Sketches. Solo performance. Pianoforte: Mr. Lindsay Sloper; Violin: Mr. Willy now Boehrn; Flute: Mr. Carte; Central Sat tickets, 5s. each, may be had at Messrs. Cramer's, Regent-street, Messrs. Keith and Prowse, 48, Cheapside; and of Mr. Carte, 23, Newman-street, London ; also, of Mr. John Bennett, and the Librarian of the Lecture Hall, Greenwich. Conveyances to London will be in readiness this time at the termination of the concert, half-past ten. (Morning Chronicle (1801), Wednesday, 23 September 1846) (Also: Morning Post, Wednesday, 23 September 1846.)

Concert. -On Thursday evening the Lecture hall was crowded with the most delighted audience that ever assembled in that noble building, and but for the polite attention of Mr. John Bennett, the hon. sec. of the subscription concerts, and other active members of the institution, much inconvenience must have been felt by those who were anxious to welcome the great syren-Madame Grisi, whose reception, as well as that of Signors Mario, and F. Lablache, with Messrs. Carte, Willey, John Parry, and Lindsay Sloper was most enthusiastic. The pieces selected tor the evening's entertainment were from the operas of Rossini, Mercadante, Bellini, Beethoven, Donizetti, and Verdi. Almost impossible to particularise any one piece as the gem of the evening, all made so great impression on the audience by the glorious manner in which they were given, a la voce, elicited the most rapturous applause, and its encore was met with great readiness the queen of Italian song. The Buffo trio, mia Dorobella, was most excitingly and vivaciously given Signors Mario, F. Lablache, and Mr. John Parry. Mr. Willey performed on the violin with taste and execution. Mr. Carte played a solo of his own composition on the new Boehme flute, and was justly much applauded. Mr. Lindsay Sloper presided at the pianoforte, and played Fantasia Brillante with care and nicety of expression. [We are] glad to see so much musical taste evinced in the neighbourhood, and trust that the financial results will be such as to keep alive the endeavours which have been made to awaken a spirit for classic compositions. This concert has added considerably to the claims of the Greenwich Literary Institution to public support; and it may be anticipated that many of the leading gentry of the neighbourhood, who were present, will consider it duty to further in every way in their power, the interests of the institution so admirably conducted. (Kentish Mercury, Saturday, 26 September 1846)

GREENWICH. - On Thursday, Mr. Carte gave a concert at the Lecture Room in this place, the unusual attractions of which drew together an audience of nearly 800 persons, the room being crowded in every part. The vocalists were Grisi, Mario, F. Lablache, and John Parry. Grisi was loudly encored in "Non fu sogno," which she vocalised with great brilliancy; a similar compliment was paid her in the popular duet from "La Donna del Lago," in which she was assisted by Mario. Grisi also sang "Qui la voce," in splendid style, and the comic duet from "Il Fanaticodi per la Musica," with F. Lablache; who himself sang with capital effect "La Danza" of Rossini, and the air, "Della vita," from Mercadante's Il Bravo. The improvement of this excellent singer is daily more remarkable. Mario created a furore in Alary's Canzone from Don Gregorio ; for this he substituted the popular "Come e gentil," in the second verse of which, to the surprise and delight of the audience, he was accompanied by the voices of Grisi, F. Lablache, and John Parry, who sang from the outside; so great was the effect of this that another encore was the consequence, and Mario repeated the first verse. Beethoven's "Adelaida" gave the accomplished tenor an opportunity of displaying to eminent advantage the graceful sentiment which so eminently characterises his style. John Parry introduced a capital new song, illustrating the principal features of the last season, which were introduced with great originality of effect; the words are from the witty and prolific pen of Albert Smith, and John Parry has supplied the music with his accustomed talent. This song promises to rival the popularity of its predecessors - it was encored unanimously, and "Fayre Rosamonde" forthwith substituted. Later in the evening, being encored in "Foreign Affairs," John Parry sang "The old Bachelor," exciting roars of laughter in both songs. The instrumental part of the concert was admirable. Mr. Willy played violin fantasia by Kalliwoda in capital style, and was ably accompanied by his son. Mr. Lindsay Sloper, in a pianoforte fantasia of Prudent, exhibited remarkable powers of execution, and the usual grace and ease for which his style is noted. A duet of De Beriot, between Mr. Willy and Mr. Lindsay Sloper, was admirably executed, and applauded with enthusiasm ; nothing more perfect than the ensemble could possibly have been desired. Last, not least, Mr. Carte played a fantasia of his own composition, on the new Boehm flute, which was received as it deserved with loud and general applause; the piece is effectively written for the instrument, and Mr. Carte's execution was highly finished and brilliant, Mr. Lindsay Sloper was the conductor for the evening, and the value of his assistance was well exemplified by the charming manner in which he accompanied Mario in Adelaida, and F. Lablache in La Danza. The concert passed off with the utmost éclat. (The Musical world, Saturday, 26 September 1846)

Friday, 25 September 1846 : Mr. McCarroll's Morning & Evening Grand Vocal Concerts at Old Ship Assembly Rooms, Brighton.

OLD SHIP ASSEMBLY ROOMS, BRIGHTON. MR McCARROLL has the honour to announce TWO GRAND VOCAL CONCERTS On Friday, Sept. 25 : One in the Morning at Two, the other in the Evening at Eight. Doors open for the Morning Concert at One o'clock, for the Evening at Seven. MADAME GRISI, SIG. MARIO, MR J. PARRY, MR. LINDSAY SLOPER. Reserved seats, 10s. 6d., single tickets 7s., to be had at McCarroll's Music Libraries, 171, North Street and 30, King's … (Brighton Gazette, Thursday, 3 September 1846) (Also: Brighton Gazette, Thursday, 10 September 1846; Brighton Gazette, Thursday, 17 September 1846; Brighton Gazette, Thursday, 24 September 1846.)

Old Ship Assembly Rooms. MR. M'CARROLL has the honour to announce TWO GRAND VOCAL CONCERTS, on FRIDAY, Sept. 25th, -one in the Morning, at Two ; the other in the Evening, at Eight.- Doors open for the Morning Concert at One; for the Evening, at Seven. PERFORMERS: MADAME GRISI, SIGNOR MARIO, SIGNOR F. LABLACHE, MR. J. PARRY, MR. LINDSAY SLOPER. Reserved seats, 10s. 6d.; single tickets, 7s. to be had at Mr. M'Carroll's Music Libraries, 171, North-street, and 30, King's-road, Brighton. (Sussex Advertiser, Tuesday, 22 September 1846)

Wednesday, 7 October 1846 : Mr. Binfield's Berkshire Triennial Festival at Town Hall, Reading.

Berkshire triennial Festival. (From our own Correspondent.) Wednesday, October 7, 1846. THE term "Festival " is, perhaps, somewhat grandiloquent as applied to this periodical music meeting, which, though on a scale of far more than the ordinary magnitude of provincial undertakings, is not devoted to the purposes of charity, and, consequently, while assuming the title in question, encroaches upon what, at least by courtesy, has been long the privilege of special convocations for benevolent objects. The choral meetings at Manchester, at the suggestion of the directors of the great meetings at Birmingham, and the three choirs of Worcester, Hereford, and Gloucester, judiciously dropped the name of " Festival;" and the present meeting might, without injury to itself, follow the example. Apart from this little discrepancy, the "The Berkshire Triennial Festival," so called, is interesting on account of its musical claims to notice, which are of no mean order, and which have great influence in sustaining and improving the taste for music in Berkshire and the immediately adjacent counties. It is now four years since the last meeting took place, which, as the "Festival" is professedly triennial, would seem to involve a bull ; but it is to be presumed there were reasons for the irregularity. The "Festival" was instituted, upwards of thirty years ago. by the father of the present director, Mr. Binfield. The performances, which are now confined to one day, though formerly they occupied three, consist of a morning concert of exclusively sacred, and an evening selection of miscellaneous music. The locale is the Town-hall in Friar-street, a structure, to judge by the style of its architecture, of about the middle of the seventeenth century… The evening concert was attended by about 450 persons, among whom were many of the patrons and stewards. The programme on the whole was interesting. The overture, to Don Giovanni, capitally played by the band, was followed by J. Bennett's madrigal, "My mistress is as fair as fine," which was encored, and gave way to Mr. H. Phillips's "Bear Hunt in Kentucky," a descriptive scene, sung with great point by the composer. Miss Dolby came next, with the recitative and air, "A te riede," from Il Crociato, in which she evinced that brilliant facility of vocalising for which she is so remarkable. A harp fantasia of Parish Alvars gave Miss Hannah Binfield occasion to display great talent on an instrument differing essentially from that on which, in the morning, she deserved and gained so much applause and credit ; she was ably seconded by Mr. Mr. Binfield on the piano. Madame Castellan followed, with Donizetti's "O luce di quest anima," for which her clever singing commanded a spontaneous encore.. Mr. Lockey, in "The heart's emotion," a pretty song by Kücken, proved himself an admirable expositor of the sentimental ballad-school. The trio of Corelli, for two violoncellos and double bass, Messrs. Lindley, Banister, and Howell, won almost as much applause as when the famous Dragonetti was wont to aid in its interpretation. Mr. Howell promises to fill up the gap left by that great performer, but he must beware of falling into the vein of exaggerated accent, which was a characteristic of his predecessor, but becomes a simple mannerism in the hands of any other contra-bassist. In "Haste, ye nymph," Mr. Phillips's animation, backed by the efforts of an unusually well trained chorus, gained the customary call for repetition from the audience. The second part commenced with Cherubini's overture to Anacreon, which was brilliantly executed by the band. In the cavatina, "Prendi per me," introduced by Benedict and De Beriot in the Elisir of Donizetti, Madame Castellan took pains to display the dual quality of voice which she possesses, now contralto, now soprano. Were her execution as finished as her voice is beautiful, Madame Castellan would rival the best singers of the day. Rossini's hacknied finale to Mose, commonly called "The Prayer," did not go well, owing to a discrepancy of opinion between the wind and stringed instruments ; but Miss Binfield's harp, and the quartett of soloists, Misses Novello and Dolby, Messrs. Lockey and Phillips, were blameless. One of the most interesting features of the programme was the performance of Mendelssohn's First Concerto, in G minor, by a very young and promising pianist, Miss Susan Havell, who made up in unusual energy, and irreproachable taste, for the small deficiencies of mechanism almost inseparable from her years and experience. Her style is altogether remarkable for one so young, and assiduous study cannot fail of making her a first-rate artist. The cuts made in the first movement of the Concerto might, however. be objected to, as inexcusable on any pretext, more especially before such attentive auditors. A Philharmonic public could not have paid more respectful homage to the music ; to rob it of its fair proportions was, therefore, not only an unwarrantable liberty with the great composer, but an ill compliment to the visitors, who were so evidently inclined to listen to his work. Linley's very graceful ballad, "Thou art gone from my gaze," was exquisitely sung by Miss Dolby, and encored; a similar compliment was paid to the incomparable madrigal of Constantius Festa, "Down in a flowery vale," which was sung to perfection by the choir. Miss Sabilla Novello's "Bonnie Prince Charlie" was too quiet for so large a room ; and, for the same reason, two Spanish songs by Madame Castellan failed of producing any striking effect. Mr. Phillips, in Marschner's quartett, "Im herbst da muss man trinken," arranged as a solo, deserved, though he did not obtain, an encore, owing to the lateness of the evening. The concert concluded with the "National Anthem," by the principal singers and chorus. The attention of the audience, and the judicious manner in which they awarded applause, were worthy remark throughout the performances. The band had but one fault, viz.-a deficiency of basses, - not in quality but number. The chorus was perfect. Mr. G. F. Harris, the conductor. deserves to be better known in that capacity; his efforts throughout the morning and evening performances were of the highest utility. Mr. Binfield accompanied some of the vocal music on the piano in a very able manner, and also officiated as chef d'attaque among the violins. The accompaniments to the Concerto of Mendelssohn were played in a style that is not always acquired in the London concert-rooms ; they were subdued, or energetic, as the occasion demanded, and seldom, if ever, out of place. The Town-hall, it must be owned, is ill adapted to sound, by reason of its excessive reverberation ; it is, however, capacious, lofty, and well ventilated. Notwithstanding the fullness of the attendance at each performance=notwithstanding the unprecedented phalanx of equipages that choked up the streets, and rendered passage either way impracticable - notwithstanding the crowded state of the town, which was in a condition of unusual bustle and commotion, it is understood that Mr. Binfield, who has kept up the festival, by his unaided exertions, for so many years, will be a considerable loser by the present speculation. In a great degree, this was, doubtless, owing to a concert which took place the week previous, the attraction of which consisted of a party of vocalists from London, among whose ranks were Grisi, Mario, F. Lablache, John Parry, and Lindsay Sloper. It is to be hoped, however, that one check in the midst of many successes will not deter Mr. Binfield from continuing to give Berkshire and the near counties the advantage of these excellent triennial meetings, which act so beneficially as a stimulus to the love and progress of one of the most captivating and humanising of the arts. In addition to the list of patrons numbered in the account of the morning performance, add the names of Sir Claudius Hunter, Bart., Sir Henry Russell, Bart., Sir John Conroy, Bart., Lieutenant-General Sir Jaspar Nichols, Lieutenant-Colonel Elliott, Mr. J. Walter, Mr. J. Walter, jun., besides a great number of naval and military officers, and nearly all the clergy of the county. There are ten stewards, selected from among the patrons, the president being Lord Camoys, who invariably attends the meeting in person. Reading, October 8th, 1846. D. (The Musical world, Saturday, 17 October 1846)

Thursday, 17 December 1846 : Miss Dolby's Concert at Music Rooms, Church-Street, Stoke Newington.

Miss Dolby gave a concert at Stoke Newington on Thursday evening, which was attended by a very genteel audience. The vocalists were Miss Rainforth, Miss Messent, Miss Dolby, Mr. Wrighton, Mr. Bodda, and Mr. John Parry ; who sung a great variety of popular compositions with the greatest success. Mr. Lindsay Sloper presided at the pianoforte, and performed two solos, which elicited very great applause. (Morning Post, Monday, 21 December 1846)

STOKE NEWINGTON. - Miss Dolby gave an evening concrt [sic] on Thursday week last, at Stoke Newington, in the Music Rooms, Church-street. The programme comprised the names of Misses Rainforth and Messent, Messrs. Bodda, Wrighton and John Parry, vocalists; Mr. Lindsay Sloper, was the pianist and conductor, Miss Dolby was never in better voice and never met with more enthusiastic applause, than on this occasion ; it is unnecessary to say more in proof of the excellence of her singing, or the pleasure that it afforded to the audience. The aria, "Ernani involami," from Verdi's opera "Ernani," given by her with the greatest brilliancy and expression ; She was also most successful in "La Polka" (a spirited buffo Duet by Orsini) with Mr. Bodda; an obtained encores for two charming ballads - "Primroses deck the bank's green side," by Linley, and " Willy Gay,", delivered with exquisite feeling. Mendelssohn's beautiful two part songs, "I would that my love," and May Bells," were sung to perfection by Misses Rainforth and Dolby. Miss Rainforth in an Aria, from Don Pasquale, and a ballad, by Tully, and Miss Messent, in Donizetti's "L'amor, suo," a scotch' ballad, contributed greatly to the gratification of the audience, testified their delight by the most hearty plaudits. A song of Krib's, by popular vocalist Mr. Bodda, and Beethoven's "Beating Heart," effectively sung by Mr. Wrighton, who was also heard in ballad, by T. Moore), Spohr's Trio "Night's lingering shades;" by Misses Rainforth, Messent and Dolby, Costa's quartett, "Ecco quel fiero istante," and Mr. Parry's inimitable buffo songs, (which were, of course encored), were the remaining vocal pieces. We must not omit to mention the piano-forte performances of Mr. Lindsay Sloper, who played on this occasion, Döhler's fantasia on airs from Guillaume Tell, and a valse, of his own composition. Mr. Lindsay, Sloper is a very fine performer, and elicited the greatest applause in both morceaux. His touch is brilliant, his execution finished and precise, and the nuances he exhibited in his playing, indicated not only his thorough appreciation of the subject he handled, but a susceptibility and a tact which rendered his interpretations in the highest degree dramatic. The fantasia on Guillaume Tell, was performed with power and great facility, and gave universal delight. His valse is a most elegant and musician-like composition, and was given with much, grace and delicacy. Mr. Lindsay Sloper is an excellent musician, as well as an excellent performer on the piano. - (From a correspondent) (The Musical world, Saturday, 26 December 1846)

Miss DOLBY'S Concert, at Stoke Newington, attracted a numerous and highly respectable audience. A great variety of popular compositions were sung with the greatest success by Miss Dolby, Miss Messent, Mr. John Parry, &c. Mr. Lindsay Sloper presided. (The Era, Sunday, 27 December 1846)

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