Edmund Hugh Lindsay Sloper

? Edmund Hugh Lindsay Sloper - Concert Diary

Edmund Hugh Lindsay Sloper - Unforgotten

Lindsay Sloper
	Life Musical Works Concert Diary 1847

Concert Advertisements and Reviews - 1847.

[Return to Concert Diary]

Monday, 4 January 1847 : Madame Mortier De Fontaine's Matinée Musicale at Newburgh Concert Rooms, Brighton.

MADAME MORTIER DE FONTAINE, the vocalist, has returned to town from a provincial tour. This lady's singing was greatly admired by the aristocratic guests, assembled at Western House, Brighton, to whom Lady Hotham gave a Matinée Musicale a few days since. Madame Mortier de Fontaine intends giving a Matinée Musicale, at the Newburgh Concert Rooms, Brighton, under the management of Mr. Wright, on Monday, the 4th of January. Amongst the artistes engaged are, Madame D'Eichthal, the accomplished harpist; M. Bottura. of the Academie Royale de Musique, Paris; and Mr. Lindsay Sloper, the eminent English pianist and composer. (The Musical world, Saturday, 2 January 1847)

BRIGHTON (From our own Correspondent. - Madame Mortier de Fontaine gave a concert on the 4th inst. She is a very clever and pleasing vocalist. and the stamp of intelligence and feeling is impressed upon all she does. Her efforts were received most warmly by the audience. We trust that Mad. Mortier de Fontaine will be frequently heard at the London concerts next season. The oftener she appears before the public the more she will be liked by audiences, her style being at once agreeable and unaffected; moreover, she is a very excellent vocalist, educated in a good school. The other singer was Signor Bottura, a basso of repute. The programme was diversified by solos on the harp and piano-forte by Mad. D' Eichthal and M. Lindsay Sloper, both of which were loudly applauded. The room was not so well filled as we could have desired, and as Mad. Mortier's talents deserved. (The Musical world, Saturday, 16 January 1847)

Thursday, 7 January 1847 : Miss Kate Ward's Grand Evening Concert at Assembly Rooms, Devizes.

Grand Evening Concert AT THE ASSEMBLY ROOMS, DEVIZES, JANUARY 7th, 1847. BY PERMISSION OF THE MAYOR. UNDER THE DISTINGUISHED PATRONAGE OF The LADY CHARLOTTE WATSON TAYLOR, The LADY GORE MRS. TALBOT, MRS. HENEAGE, MRS. SALMON, MRS. LUDLOW BRUGES, MRS. FRANCIS LOCKE, MRS. COLSTON, MRS. WILLIAM MACDONALD, MRS. NISBET, MRS. FISHER, MRS. SPENCER, MRS. MAYOW, MRS. T. MOORE, MRS. W. J. B. ANGELL, MRS. HENRY MEREWETHER, MRS. SCOTT, MRS. ALSTON RADCLIFFE, MRS. SEAGRAM, MRS. LEWIS, MRS. A. MEEK, MRS. MEREDITH, MRS. BASSETT, MRS. WILLIAMS. KATE WARD Has the honor to announce that in addition to the extra ordinary and highly talented Pianist MR. LINDSAY SLOPER She will be assisted on the occasion by the unrivalled MR. HANSFORD, Of the Nobilities' and London Concerts, who will sing some of his celebrated Gipsy Songs, MISS RANSFORD, &c &c &c Programmes, with full particulars, and Tickets to be had at the principal music shops in the town. (Devizes and Wiltshire Gazette, Thursday, 24 December 1846) (Also: Devizes and Wiltshire Gazette, Thursday, 24 December 1846; Devizes and Wiltshire Gazette, Thursday, 24 December 1846; Devizes and Wiltshire Gazette, Thursday, 31 December 1846.)

Miss Kate Ward's Concert, it will be seen by advertisement, is to take place at our Assembly-room on Thursday evening next, and we trust she will meet with the encouragement she is deservedly entitled to. Among those who are engaged to assist her, are some of the most distinguished performers of the present day. Mr. Lindsay Sloper (who, we understand is a native of Wilts) is an admirable pianist, in the pure and classical school of Mendelssohn and Sterndale Bennett; but he combines a complete acquaintance with the works of modern pianists, which he executes with great facility and brilliant mechanical power. He is also a composer of distinguished ability. In a critique on one of his late concerts, the Morning Post says-" Mr. Lindsay Sloper was partly educated in England, partly at Heidelburg and Frankfort, and partly in Paris.- At the present moment, although a very young man, he is decidedly one of the best piano forte players in this country, and a composer of great distinction for his instrument. It has also been said of Mr. Ransford, that the style of his singing is unrivalled. The names of Mrs. Locke and Mrs. Douglas Hadow should have been added to the list of patronesses in the advertisement inserted in our first page. (Devizes and Wiltshire Gazette, Thursday, 31 December 1846) (Also: Devizes and Wiltshire Gazette, Thursday, 31 December 1846; Devizes and Wiltshire Gazette, Thursday, 31 December 1846.)

DEVIZES. - A concert was given in this town on Thursday evening, Jan. 7, by Miss Kate Ward, of the Royal Academy of Music. The vocalists engaged on this occasion were Miss Ransford, (whose pleasing voice is well known to the habitués of the Royal Academy Concerts,) and Mr. Ransford, her father. Mr. Lindsay Sloper presided at the pianoforte, and performed two fantasias in the course of the evening, and Miss Ward, also secured the services of the Messrs. Pitman, from Bath. This young lady possesses a soprano voice of charming quality, and her style is pure and expressive ; she was much applauded throughout the evening, and was encored in Mozart's, "Non mi dir," and in Linley's Ballad, "Spirit of Air." The programme gave general satisfaction, several other pieces being encored ; all Mr. Ransford's characteristic Gipsy Songs obtained that distinction. Miss Ransford sang an aria from Linda and "The Fairy Bride," ballad, so effectively, that, at the conclusion of the latter, she was unanimously called upon to repeat Donizetti's air. Mr. Pitman is a clever performer on the violin, and his fantasia was received with great favour. Mr. Lindsay Sloper joined the Messrs. Pitman in a trio of Mayseder, which was a brilliant and effective performance. Herz's Lucia, and Weber's Invitation pour la Valse gave our admirable young pianist an opportunity of displaying his finished execution, animated style, and unaffected expression to the greatest advantage. The last piece was the favourite; but Mr. Lindsay Sloper was received with great enthusiasm in everything he played. The concert was numerously and fashionably attended. - (From a Correspondent.) (The Musical world, Saturday, 16 January 1847)

Monday, 11 January 1847 : The Society of British Musicians's Sixth (Last) Chamber Concert.

SOCIETY OF BRITISH MUSICIANS. The sixth and last of the series of chamber concerts took place last evening, and was, upon the whole, both as regards the music selected and the performance of it, by very far the best concert of the season. Our readers will remember that in our notices of the five previous performances of the society we have found much to admire, and when we say, therefore, that the sixth was the best, it will be understood that we mean no inconsiderable praise. We think the British Society the only true representative of the state of the art as regards composition in this country, and we think the performance of last evening in all respects worthy of the important duties this society has to discharge. The beautiful sonata in A, for violoncello and piano, of Beethoven, was admirably played by Mr. S. J. Noble and -Mr. W. F. Reed. They evinced some nervousness at the commencement, but such excellent players have certainly nothing to fear. Mr. Lockey and his sister sang a duet of Haydon, " Saper vorrei," a lovely composition, exceedingly well ; Miss Duval sang a song of Mr. Walter Macfarren to Tennyson's beautiful poem beginning " Flow down, cold rivulet, to the sea ;" this is a pure and continuous melody, very effectively harmonised, with an ingenious figure of accompaniments, which is well kept up throughout ; it is an original, and we scruple not to say, a beautiful composition. It was charmingly sung, and deservedly encored. The next piece was a scena of Mr. G. Cooper, which was remarkable for Mr. Lockey's fine singing. This was also encored. The first part concluded with a double quartet, for two sets of string instruments, the composition of Mr W. S. Rockstro, a composer of great promise, who has not hitherto brought so important a work before the public. This quartet is evidently the work of a young musician, and that is not the least satisfaction that we have in hearing it, as from this we feel that he has plenty of time to write much more, and, to write so well to begin, cannot write much without writing much better. The piece abounds in clever antiphonal effects, the two quartets being clearly distinguishable throughout ; the first and last movements pleased us the most, the slow movement the least, though this contained many points of instrumentation that are very novel and striking. The whole went well together, but we regretted occasional uncertainty of intonation in the execution. The second part commenced with Mr. G. A. Macfarren's quintet, in G minor, for pianoforte, violin, tenor, and double bass, performed by Mr. Lindsay Sloper, Messrs. Thirlwall, Weslake, W. F. Reed, and C. Severn. Of this quintet we remember to have heard Mendelssohn say, that he thought it the best of Mr. Macfarren's compositions; our readers must be aware of our general opinion of this author's works, and we see no reason in this instance to differ from that great composer and excellent judge of music. We can only regret that the quintet is not more frequently played in public. The execution on the present occasion deserves the highest praise. We must speak particularly of Mr. Severn, whose distinctness of execution and excellence of style are truly admirable; and of Mr. Lindsay Sloper, who, as a pianist, has in our opinion no superior in this country. His mechanism is unexceptionably perfect, and his feeling for music, and the expression of it, truly characterise a first rate artist. No terms of praise can be too high for his performance of Mr. Macfarren's quintet. This was received with applause which amounted to enthusiasm. Miss Lockey sang a pretty barcarole of Spohr, with pianoforte duet accompaniment; and the concert concluded with Mozart's pianoforte duet in F, performed by Mr. Walter Macfarren and Mr. Darrell with great spirit, and sent the audience home delighted. Thus ended this really interesting series of concerts, which have been so highly creditable to the Society and the country; and we now most strongly urge the committee to give an orchestral performance on a grand scale, in which soma of the largest productions of English musical genius may be placed in a proper light before the public, of which, from the example of these chamber performances, we may safely prognosticate a most honourable success. (Morning Post, Tuesday, 12 January 1847)

SOCIETY OF BRITISH MUSICIANS. - Last night the sixth and last soirée wound up the season with a programme of considerable interest. There were four novelties - two instrumental and two vocal. Mr. Rockstro, a young member of the society, contributed a double quartet for stringed instruments. In this work the author has profited by the masterpieces of Spohr and Mendelssohn in the same form. By the side of many reminiscences of the latter and of Sterndale Bennett, there is much that is original and ingenious. The chief defect is in the instrumentation, which in too eagerly seeking for variety often loses sight of unity. The two quartets are too much divided, and a meagreness of effect is the result. Still there is a great promise in this double quartet, which might, however, have gained much by a more finished style of performance than was awarded it by the executants. The first and last movements are the best. Mr. Macfarren, the oldest member of the society, introduced a quintet in G minor, for pianoforte and stringed instruments. This is the work of a master, and is full of genius. The four movements contrast well; the majesty of the allegro being well set off by the soothing melody of a barcarole which follows it, while the playfulness of the bolero is relieved by a finale of a passionate character. Perhaps the most original movement is the borelo, which is developed with fancy and skill. The subject of the finale recalls a prelude of Mendelssohn very forcibly to the memory, but the resemblance ceases with the first four bars, and the rest of the movement is of a high order. Among the executants was Mr. Lindsay Sloper, who made his debut at these concerts, and by his very fine performance of the pianoforte part gained himself infinite credit. The part for the contrabasso is very difficult, but was mastered with ease by Mr. C. Severn, one of our best players. The other executants were Mr. Thirlwall (violin), Mr. Westlake (tenor), and Mr. W. F. Reed (violoncello). The quintet was the capital morceau of the programme. The vocal novelties were both encored. Miss Duval sang the first, a charming musical arrangement of Alfred Tennyson's little poem, "Flow down, cold rivulet, to the sea," by Mr. W. C. Macfarren. Mr. Lockey sang the other, a "Lament," by Mr. G. Cooper, a song of much pretension. Beethoven's duet for piano and violoncello, in A, and Mozart's duet, in F, for the pianoforte, were both excellently played, the former by Messrs. Noble and W. F. Reed, the latter by Messrs. W. C. Macfarren and Dorrell. The other vocal pieces were a lovely Italian duet of Haydn, "Saper vorrei," by Miss and Mr. Lockey, which should be heard oftener, and the not less beautiful song of Spohr, "In the silver beams of Luna," sung by Miss Lockey - the duet accompaniment on the pianoforte by Messrs. Lindsay Sloper, and W. Macfarren the latter of whom also officiated with ability as conductor of the evening. If all the society's programmes were like this, there would be little room for finding fault. It is to be hoped that the committee during the recess will hit upon something on a grander scale than these chamber concerts, which, though interesting enough of their kind, are not of sufficient Importance to attract public attention, without which the society, which has now existed 13 years, must for ever languish in comparative obscurity. (The Times, Tuesday, 12 January 1847)

SOCIETY OF BRITISH MUSICIANS. The sixth and concluding Concert of the present series was given yesterday evening ; and notwithstanding the untempting nature of the night, a goodly assemblage of listeners congregated ere the concert began. The programme commenced with Beethoven's Sonata in A, for pianoforte and violoncello, played by Messrs. S. J. Noble and W. F. Reed. Both gentlemen made their appearance, for the first time, at these concerts. Mr. Noble (son of Mr. Noble, of Westminster,) has been known as a rising pianist for some years. His style is characterised by vigour and facility of execution -qualities essential to the performance of the Sonata in question, yet not all that is needful to a just interpretation of Beethoven. The refined artistic feeling, the judicious distribution of light and shade, and, above all, the poetic sympathy demanded of the artist by every work of the great musical poet, Mr. Noble has yet to attain. A most unfortunate choice was this Sonata for his companion executant, Mr. W. F. Reed, who was completely overwhelmed by its requirements. In short, the work demands first-rate playing to produce and define the quaint and singular effects with which it abounds. Mr. Reed is a very pleasant adagio player, as he proved himself later in the evening; but we would recommend him not to try Beethoven on great scale again, just yet. Haydn's charming vocal duet "Saper vorrei," was sung with musici"n-like skill and good expression by Miss and Mr. Lockey. A song by Mr. Walter Macfarren, Flow down cold rivulet," sung by Miss Duval, and encored, followed. It is written with that gentleman's clever tact for imitating the modern German style; the chief merit being rippling, picturesque accompaniment. It exhibits the usual defect (in this class of imitative productions) a want of vocal melody. Of this fault Mr. W. Macfarren ought not to be guilty ; and, moreover, it is high time he left off imitating. The novelty of the evening was double-stringed instrument quartett in B minor (MS.) by Mr. W.S. Rockstro. Mr. Rockstro is a young and promising composer, from whose larger experience and maturer thought we expect to hear better things than the work of last evening. His effects were not improved by doubling his instruments, which can only hazard the performance by multiplying the risks of imperfect execution. Additional colouring can only be given to works of this class by adding wind to the stringed instruments, not by doubling the latter. The performers were Messrs. Thirlwall and Streather, Dawson and Westrop, Westlake and Blagrove, Reed and Guest . The first movement is noisy melo-dramatic allegro, relieved by a pretty, but common-place melody. The andante has some charming and graceful melody, very nicely harmonised, and exhibits some clever counterpoint, while the subject is effectively mingled and relieved by an occasional diablerie accompaniment. The violoncello passages in this movement were admirably played by Mr. Reed. The mistake of numbers was exemplified in the scherzo, the responses of which were confusedly executed. The finale was very well played, but the andante is by far the best, and was evidently the favourite movement. Spohr's song, "In the silver beams of Luna," with pianoforte duet accompaniment, commenced the second part of the concert, was well sung by Miss Lockey, and heartily applauded. The accompaniment, with its beautiful succession of of liquid, harmonic chords, was deliciously played by Messrs. W. Macfarren and Sloper. Mr. G. A. Macfarren's quintet, in G minor, for piano, violin, tenor, violoncello, and double bass, played by Messrs. Lindsay Sloper, Thirlwall, Weslake, Reed, and Severn, was the great treat of the evening. It opens with a fine, bold, dramatic allegro, the subject of which is clear, beautiful, and well defined, presenting some vigorous passages for the double bass (admirably executed by Mr. Severn), and charming melodies for the piano and violin. Had there been more delicacy, and less rasping on the part of the violino primo, the effect of this movement would have been perfect. Departing from the prescribed form of instrumental writing, Mr. Macfarren has introduced for his second movement a "barcarole" of beautiful and piquant character, the melody of which is first played by the piano, and then harmonised by the other instruments. The effect of this novelty was refreshing and delightful, and warmly welcomed. Then, in place of the old scherzo, we had a "Bolero," full of life and beauty, in which the double bass again came out admirably. We have never heard a finer composition than this quintett, from the pen of Mr. Macfarren, the spirit of which infused itself into the performers, who threw it off with enthusiasm. The applause was great and long-continued. A MS. scena called "Lament," by Mr. Cooper, was then sung by Mr. Lockey, and deservedly encored. Mozart's piano duett in F, capitally played by Messrs. W. Macfarren and Mr. W. Dorrell, concluded the concert. The series now finished, consisting of six concerts, has been furnished with nine new and original instrumental works of scope and pretension, by native, and chiefly young composers. Though we cannot congratulate the authors and authoresses here assembled on having exhibited in these works, that rare and divine thing called Genius; that power which inspires new thoughts, creates new forms, clothes in new language, which founds and distinguishes a style ; nevertheless we must confess in all the presence of large accomplishment and science. To the higher attribute, we think the nearest approach (among the novelties) to be found in the quartett of Miss K. Loder. The other lady composer, Mrs. Reinagle, presented one of the cleverest and most charming among the originals. Elegant phrases, refined feeling, and a knowledge of musical resources, were general, but the ear longed for more of the fruit of that advice administered. (Morning Advertiser, Tuesday, 12 January 1847)

CONCERTS. Society of British Musicians.- The sixth Concert included Beethoven's Sonata A, Op. 69, played by Mr. Noble (piano) and Mr. W. F. (Violoncello); Mozart's Duo in F, for pianoforte, performed Messrs. W. C. Macfarren and Dorrell; Mr. G. Macfarren's Quintet in G Minor, executed by Mr. L. Sloper (piano), Thirlwall (violin), Weslake (tenor), W. F. Reed (violoncello), and C. Severn (double bass); and a MS. Double Quartet in B Minor, by Mr. W. S. Rockstro, played by Messrs. Thirlwall, Dawson, Weslake, and Reed, and Messrs. A. Streather, T. Westrop, R. Blagrove, and Guest. The andante of the double quatuor was much applauded. Miss Duval was encored in Mr W. Macfarren's song, A Farewell," to Tennyson's words; and Mr. Lockey was similarly complimented in MS. Scena, by Mr. G. Cooper, "Lament." Miss Lockey sang Spohr's song, "In the silver beams of Luna," and, with her brother, Haydn's duo, "Saper Vorrei." Mr. W. Macfarren officiated as as accompanyist. On the whole, this series of concerts has been remarkably dull and uninteresting, and if the Society desire to prosper, it must awake from its apathy and system of partiality. We fear that the epithet formerly applied-" The Society of Mutual Applause -has been strictly applicable this season. (Illustrated London News, Saturday, 16 January 1847)

SOCIETY OF BRITISH MUSICIANS. The 6th Chamber Concert of the 13th Annual Series took place on Monday last, when the following programme of native and foreign compositions was presented to the audience Sonata in A, pianoforte and violoncello, BEETHOVEN ; Duetto, "Saper Vorrei," HAYDN; Song, "Flow down, cold rivulet," WALTER M'FARREN ; Double Quartetto, W. T. ROCKSTRO ; Song, "O'er the mist-shrouded cliffs," G. COOPER ; Quintet in G. minor, pianoforte, violin, viola, violoncello, and basso, G. A. M'FARREN ; Song, "In the silver beams of Luna," SPOHR; Grand Duet in F. pianoforte, MOZART. The BEETHOVEN sonata was well played by Messrs. NOBLE and REED, who made their first appearance at these concerts on this occasion. The latter artist, who sustained the violoncello part throughout the evening, is a valuable accession to the orchestral force of the society. Miss and Mr. LOCKEY did justice to the somewhat antiquated duetto of HAYDN, and Miss DUVAL did the utmost for Mr. W. M'FARREN'S pianoforte song. We protest against any composition, professedly vocal, in which the voice is so sacrificed to the accompaniment as in this instance. The quartet of ROCKSTRO - (reader, the youth is a born Briton, albeit he appears before you among British musicians, under this outlandish appellation ; when will this silly affectation cease ?) - is the work of a very young man, full of freshness and spirit, and the highest feeling for his art. If, in imitation of the learned critic in the Times, we should attempt to tell you how be modulated from B minor to G flat, and from G flat to C sharp major, you would be, we fear, little the wiser, although we might seem more learned. But wherever his harmonic wandering led him he took his hearers with him, and left them with the anxious hope of soon hearing him again. We trust that he will not incumber himself with so remote a kind of composition, in which the effects are by no means commensurate with the labour bestowed upon it. Mr. LOCKEY sang with genuine feeling the song by COOPER. The words are attributed to BURNS, and pourtray the sorrow of the poet, when, after the death of his "Mary," he contemplated an emigration, which might have robbed Scotland of her sweetest bard. Into the softened sentiments of the words both composer and singer have thrown themselves, with a sympathy which ensures them that of their hearers. The musical treatment exhibits deep reading, but there is no appearance of effort even in its deepest points, and the concluding strain falls with a lingering sadness upon the ear, so truthful and subduing, that the ordinary tribute of applause is withheld until the deeper emotion has subsided. There was nothing gained by the duet accompaniment to SPOHR'S song. It was nicely rendered by Miss LOCKEY, and delicately played by WALTER M'FARREN and Mr. DORRELL. The quintet of the elder M'FARREN is one of his ablest works. The subjects were worked throughout with a masterly hand. A movement, à la Bolero, elicited loud approbation, and but for the lateness of the hour must have secured a repetition. The instrumental performers were Messrs. LINDSAY, SLOPER, Pianoforte, Messrs. C. M'FARREN, Messrs. THURWALL, STRATHERN, WESTLAKE, T. WESTROP, DAWSON, R. BLAGNON, REED, GUEST, and C. SEVERN. (Critic, 1844-1847, Saturday, 16 January 1847) (Also: The Critic, Saturday, 16 January 1847.)

There is movement, too, in other sections of our musical world. Though the session of the Society of British Musicians, which was closed by Monday's concert, has been less talked about than most of its predecessors, it has, to our judgment, been one of the most satisfactory; the works produced more sterling in quality (though generally leaning too near Germanism), and the average of execution more careful. At the last concert, a Canzonet by Mr. Macfarren, sung by Miss Duval, was encored, - as was also a Song by Mr. Cooper, sung by Mr. Lockey. The instrumental pieces were - a double Quartett by Mr. Rockstro, and a pianoforte Quintett by Mr. Macfarren, in which Mr. Sloper took the leading instrument. Now that the hubbub of self-praise seems to have subsided, and our younger men are presenting themselves as candidates rather than Beethovens and Mozarts fully ripe, we have hope of this Society filling a place and fulfilling a duty. (The Athenaeum, Saturday, 16 January 1847)

SOCIETY OF BRITISH MUSICIANS.-The last of the series of these chamber concerts took place on Monday evening. It was the best of the season, and the performance was in every respect worthy the important duties the society has to discharge. We would urge upon the committee to give an orchestral performance on a large scale, and thus afford an opportunity of audition, of some of the elaborate compositions by English musicians, to which the portals of the Philharmonic Society have been closed. The most interesting portion of the concert was Mr. George Macfarren's quintet in G minor. We feel a strong regret that this really masterly work is not more frequently heard in public. The execution of the pianoforte part was entrusted to Lindsey Sloper, one of the most classical performers in Europe. The applause was enthusiastic. (The Era, Sunday, 17 January 1847)

Friday, 15 January 1847 : The Society of British Musicians's Sixth Concert [Date Approx] at [Probably the concert of 11 Jan 1847].

SOCIETY OF BRITISH MUSICIANS. AT the Fifth Concert, which we have hitherto left unnoticed, the following programme was executed PART I.--Quintet, in E flat, Pianoforte, Oboe. Clarionet, Horn, and Bassoon, Messrs. W. Rae, Jennings, Key, Callcott, and Keating, Mozart. -Duet, " Remember me," Miss Ellen Lyon and Miss Cubitt, T. M. Mudie. -Song, "The Blind Boy," Mr. Bodda, Kate Loder - Serenade(MS.- first time of performance), Miss Ellen Lyon, E. Perry. -Trio, (MS.) No. 2, in D. Pianoforte, Violin and Violoncello (first time of performance), Mr. J. B. Calkin, Master Day, and Mr. Lucas, J. B. Calkin. - Quartet, in G minor, (MS.), two Violins, Tenor, and Violoncello, Messrs. Jos. Banister, Gattie, Thomas; and Quinton, (his first appearance at these Concerts), H. Graves. - Song, (MS) "I never can forget thee, love," Mr. Bodda (first time of performance), J. R. Tutton. - Song, "The Gipsy Maiden," Miss Cubitt, A. Fesca. - Quintet, in D minor. No. 2. Pianoforte; two Violins, Tenor, and Violoncello. (first time of performance in this country), Messrs. F. B. Jewson. Gattie, Jos. Banister, Thomas, and Lucas, Spohr. - Terzetto, "Se dira." (Agnese.) Paer. Miss Ellen Lyon, Miss Cubitt, and Mr. Bodda. - The Vocal Music accompanied on the Pianoforte by Mr. W. Dorrell. It is too late now to criticise the performance of this programme, or the materials out of which it was constituted. The great novelty was decidedly Spohr's quintet, the second he has produced. With all the characteristics of the great musician's style this quintet exhibits many features that are absolutely new, and the composition as a whole is masterly, brilliant, and effective. It will, doubtless, win the attention of our pianists generally, and become a stock-piece in the approaching concert season. Mr. F. B. Jewson sustained the pianoforte part with great ability. His execution was energetic and finished, and his general reading showed how entirely the young pianist entered into the feeling and intention of the composer. Mr. Jewson was admirably supported by Mr. Gattie (first violin), Mr. Joseph Banister (second violin), Mr. Thomas (tenor) and Mr. Lucas (violoncello), about as capable a quartet to help out a pianist as England could well muster - all accomplished performers, and all zealous and right-minded artists. The quintet was well received, and the slow movement re-demanded, though the executants did not respond to the evident desire of the audience. Mr. Calkin's trio and Mr. Graves' quintet, both the works of acknowledged favourites, were ably executed and warmly received. Among the vocal pieces, which were nearly all MS., we must specialise Mr. Mudie's charming duet, which was nicely sung by Misses Ellen Lyon and Cubitt. It is worth asking -- why, in the course of six concerts, we have only been favoured with one composition from the pen of this excellent musician? Mr. Mudie's absence in Edinburgh is certainly no reason for overlooking his claims upon the society as one of the best composers in its ranks. A word must record our favourable opinion of Miss Kate Loder's pleasing song, the serenade of Mr. Perry, and the song of Mr. Tutton, the worthy founder of the society. Miss Ellen Lyon to one and Mr. Bodda to the other two of these vocal essays rendered the fullest justice. Fesca's song is uninteresting. and Paer's trio somewhat perruque ; they were both well sung however. It is unnecessary to praise Mr. Dorrell's method of accompanying ; it has been long and honourably proved. The sixth and last meeting was superior in all respects, and perhaps, indeed, the very best of the whole series. The following programme, rich in novelties, instrumental and vocal, will carry out our verdict. PART I.-Sonata in A, Op. 69, Pianoforte and Violoncello, Messrs S. J. Noble, and W. F. Reed,' (their first appearance at these Concerts). Beethoven. - Duet, " Saper vorrei," Miss and Mr. Lockey, Haydn. - Song, "A Farewell," Miss Duval, Walter C. Macfarren. - Double Quartet in B minor, (MS. - first time of performance), W. S. Rockstro; Messrs. Thirlwall, A. Streather, W. Dawson, T. Westrop, Westlake, R. Blagrove. W. F. Reed, and Guest. - Song, with pianoforte duet accompaniment, "In the silver beams of Luna," Miss Lockey, Spohr. - Quintet in G minor, Pianoforte, Violin, Tenor, Violoncello, and Double Bass, Mr. Lindsey Sloper (his first appearance at these Concerts), Messrs. Thirlwall, Westlake, W. F. Reed, and C. Severn. G. A. Macfarren. - Scena, (MS.) "Lament," Mr. Lockey, G. Cooper. - Grand Duet in F, Pianoforte, Mozart, Messrs. Walter C. Macfarren and W. Dorrell. - The Vocal music accompanied on the Pianoforte by Mr. Walter C. Macfarren. Beethoven's fine sonata found able interpreters in Messrs. S. J. Noble and W. F. Reed. The former, one of the cleverest pupils of the best of masters (Mr. W. H. Holmes), promises to rank high among the most finished pianists in whose education the Royal Academy has had a hand. The latter, a brother of Mr. T. German Reed, the director of the Haymarket musical arrangements, is a very improving violoncellist. Mr. and Miss Lockey must be praised for introducing a gem of Haydn's so little known and so lovely withal. This is not the first mark of attention which Mr. Lockey has paid to the neglected works of one of the greatest of masters. We must also eulogise the excellent manner in which the duet was rendered by the amiable brother and sister artists. Mr. Walter C. Macfarren's song must be admired for its frank and pleasing melody, its original and musician-like accompaniment, and its faithful adaptation to the sentiment of one of the most exquisite of Alfred Tennyson's minor poems. Let the reader judge of the beauty of the verses Flow down, cold rivulet, to the sea, Thy tribute wave deliver ; No more by thee my steps shall be For ever and for ever. Flow, softly - flow by lawn and lea, A rivulet, then a river ; No more by thee my steps shall be For ever and for ever. But here will sigh thine alder tree, And here thine aspen quiver, And here by thee will hum the bee, For ever and for ever. A thousand suns will stream o'er thee, A thousand moons will quiver ; But not by thee my steps shall be for ever and for ever. Miss Duval sang this with true feeling, and merited the encore she received. Owing to the non-arrival of some of the violins, the instrumental piece that was to follow was delayed, and Mr. Cooper's song - a composition aiming at more than a common mark, and hitting it after a certain fashion, followed next. Mr. Lockey's irreproachable singing gained an encore which the gravity of Mr. Cooper's music could hardly have expected to attain. The double quartet of Mr. Rockstro is entitled to serious attention as the work of a very young and a very promising musician. The author has studied under the wing of the greatest living composer - Felix Mendelssohn ; it is to be presumed, therefore, that the gifts of nature have been well fostered. Taking him as we at present find him, Mr. Rockstro has dispositions that augur well for his future career. He has fancy, earnestness, strong musical feeling, and a taste that rejects every idea that is vulgar. With these qualities, so admirable in a young musician, he combines unusual facility in the mechanical resources of his art. His double-quartet is a very favourable specimen of his talents. He has not overlooked the examples of this grand species of chamber music which have come from the pen of the illustrious Spohr; still less has the Ottetto of Mendelssohn escaped his observation. His love for these authors has led him occasionally into more than an imitation of their beauties. Nor has Sterndale Bennett been allowed to pass the young composer's barrier without paying the toll. But all this augurs favourably of his discernment, and shows that his reading has been in the right direction. The first and last movements of the double quartet are, in our opinion, the best. They are well constructed and developed with clearness and decision, while the subjects, if not strikingly original, are happy and well contrasted. We would especially call attention to the second motivo in the Allegro con Fuoco, which is exceedingly quaint, and is doubled in importance by the ingenious manner in which it is handled further on in the movement. The Andante has some points of instrumentation that are both original and charming, but in striving after constant variety of colour Mr. Rockstro has fallen into the sin of incoherency. The division of the two quartets becomes meagre and monotonous from the want of contrast; and this gives a rambling and patchy effect to the movement, which has none of those rich and grand masses of full and sustained harmony of which Spohr's double-quartets present such fine examples. In the scherzo there is not much to remark, beyond the fact of its being rhythmical and pretty. The reception of this work cannot but have been grateful to Mr. Rockstro, and the appreciation of what he has thus far done so well will, doubtless, stimulate him to do still better. We cannot say much in praise of the execution of the young composer's work, which evidenced a want of rehearsal that should have been remedied before its public performance. The composition of a beginner is even more entitled to this careful pre-examination than that of a more experienced hand. The first step is the great step, and it should be taken with every legitimate support, to prevent the possibility of its being a false one. The vocal piece which followed, "In the silver beams of Luna," * one of the most delicious chamber compositions of Spohr, was very quietly and effectively sung by Miss Lockey, and the pianoforte accompaniment for two performers was capitally played by Mr. Lindsay Sloper and Mr. W. C. Macfarren. But the capital morceau of the whole programme was the quintet in G minor, by G. A. Macfarren, a work as remarkable for its musicianship as for its genius. Mr. Macfarren put the society into action by his symphony in F minor, the first piece performed in the first concert ever given by the members. The years that have elapsed have gradually helped to the lull development of that genius which then promised so much. It is now in its full meridian and the appearance of the masterly opera of Don Quixote, a work of profound scholarship and the highest genius, and which would confer honour upon any school of art, at once established its composer in the estimation of musicians among the first of the age. Every work that Mr. Macfarren has since produced has borne the stamp of matured style and ripened talent which are exemplified to such rare perfection in Don Quixote. The quintet performed on Monday night is one of the completest and most masterly of these works. It consists of an allegro in G minor, a grand and energetic movement - a barcarole in the major, a strain of soothing melody - a bolero in C minor, full of character and elaborated with the ingenuity of a thorough musician - and a finale in the original key, passionate and elevated, and sparkling with artistic beauties and ideas at once new and striking. From beginning to end this quintet is full of melody, properly so called ; not made out of short impertinent bits of tune, but of phrases long drawn out, developed with felicity, colored with rhythmic variety. and satisfying the ear and the understanding with cadences well calculated and complete, neither weakened nor interrupted by ante-climax nor ill-considered and extravagant modulation. To make a long matter short, the quintet is a noble work, fulfilling all the highest conditions of art, and contenting the judgment while it delights the ear. It is seldom we can have the gratification of speaking thus unreservedly of the work of a countryman, and we are too happy to do so, when occasion presents, to be at all backward in uttering what we think to the last syllable. It gives us almost equal pleasure to speak of the execution of this quintet. Mr. Lindsay Sloper made his debut in the principal part, and proved to the Society the value of their recent acquisition in his person. He played, indeed, so finely, that if the composer were not thoroughly satisfied he must be very hard to please. The other executants aided him most efficiently, and Mr. C. Severn especially must be praised for the admirable style in which he rendered the very elaborate obligato bass part of the bolero, a feat of no common difficulty. The applause bestowed by the audience showed clearly their appreciation of the quintet and its performance. Mozart's fine pianoforte duet in F major, was executed with great brilliancy and power, by W. C. Macfarren and Mr. Dorrell, who kindly consented to undertake it at the last moment, it being impracticable to make up another quartet. With this the concert ended. Mozart was the climax - and happily so, for what could come after him with effect? Mr. W. C. Macfarren was the accompanyist of the evening, and performed his duty most ably. Thus concluded the present series of chamber concerts. We shall shortly refer to the Society in general terms. * Published by Wessel and Co. (The Musical world, Saturday, 16 January 1847)

Monday, 15 February 1847 : Mr. Lindsay Sloper's First Soiree of Classical Piano-Forte Music at Beethoven Rooms, 76 Harley-St.

MR. LINDSAY SLOPER begs to announce that he will give THREE SOIREES OF CLASSICAL PIANOFORTE MUSIC at the Beethoven Rooms, 76 Harley-street, Cavendish-square on the following evenings:-Thursday. February 18. Wednesday, March 3, and Wednesday, March 17 to commence at half=past 8 o'clock. Subscription tickets one guinea each, and tickets for a single soirée, half-a-guinea each, may be had of Messrs. Cramer, Beale and Co.; Wessell and Co.; and Jullien; and of Mr. Lindsay Sloper, 7, Southwick-place, Hyde-park-square. (The Times, Wednesday, 3 February 1847) (Also: The Musical world, Saturday, 6 February 1847; Daily News, Wednesday, 17 February 1847; Daily News, Wednesday, 17 February 1847; Morning Post, Wednesday, 3 February 1847; Morning Chronicle (1801), Wednesday, 17 February 1847.)

MR. LINDSAY SLOPER has announced three concerts or Classical Pianoforte Music, to take place shortly at the rooms in Harley Street. (The Musical world, Saturday, 6 February 1847)

On Thursday, the Sacred Harmonic Society will perform at Exeter Hall the Dettingen Te Deum," of Handel, and Mozart's Twelfth Mass, Mrs. Sunderland, Miss Dolby, Mr. Genge, Mr. Maurers, and Mr. Phillips, being the principal vocalists. On the same evening, the same evening, Mr. Lindsay Sloper gives his First Soirée of Classical Pianoforte Music. (Illustrated London News, Saturday, 13 February 1847)

Mr. LINDSAY SLOPER begs to announce that he will give THREE SOIREES of CLASSICAL PIANOFORTE Music. at the BEETHOVEN ROOMS, 76, HARLEY-STREET, CAVENDISH-SQUARE, on the following Evenings-THURSDAY, Feb. 1s; WEDNESDAY, March 3, and WEDNESDAY, March 17. To commence at Half-past Eight o'clock. Mr. Lindsay Sloper, will be assisted at the first Soirée by Miss Dolby, Messrs. Benedict, Willy, and Rousselot. Subscription Tickets, and Family Tickets (to admit three to one Soirée), 1l. 1s. each, and Tickets for a single Soirée, 10s. 6d. each, may be had of Messrs. Cramer, Beale & Co.; Wessel & Co., and Jullien, and of Mr. Lindsay Sloper, 7, Southwick-Place, Hyde Park Square. (The Athenaeum, Saturday, 13 February 1847)

MUSICAL MEMORANDA…Mr. Lindsay Sloper, the pianist, will give his first soirée on Thursday, (Morning Post, Monday, 15 February 1847)

MUSICAL INTELLIGENCE…On Thursday, Handel's celebrated n Dettingen Te Deum, Mozart's twelfth Mass, and other music will be performed at Exeter all, by the Sacred Harmonic Society; on the same evening Mr. Lindsay Sloper has his first soirée of classical pianoforte music; (Morning Chronicle (1801), Monday, 15 February 1847) (Also: Morning Chronicle (1801), Monday, 15 February 1847.)

MR. LINDSAY SLOPER'S SOIREE. A numerous and most elegant audience thronged the Harley-street Rooms on Thursday evening, on the occasion of the first of three soirées of classical pianoforte music given by Mr. Lindsay Sloper. This gentleman, as a pianist, possesses qualities which place him in the very first rank of his profession ; his execution is unexceptionably certain, distinct, rapid, and fluent, and his style is in all respects intelligent, unaffected, and musicianly ; to these advantages he adds a pure and cultivated taste, and thus his choice of music is in character with his performance of it, and this is truly admirable ; his talents are an ornament and an honour to the English school. The selection comprised the fantasia in F minor, for pianoforte duet said to have been originally composed for barrel-organ, of Mozart, in which the beneficiare was ably supported by M. Benedict. After this, a selection from the Suites de Pieces of Handel, of which, however, we think it would have been more judicious, and more considerate of the author's meaning to have chosen one entire suite, than three different movements from three different pieces. To our notion, Mr. Sloper played the beautiful and most melodious fugue in F (one of the movements he selected) faster than was calculated to preserve the perfectly flowing and cantabile character with which this fugue is so decidedly marked. The impassioned sonata in D minor of Beethoven followed, in which the pianist evinced an all-sufficient dramatic feeling to do great justice to the first and last movements of this truly exciting work The slow movement in B flat of this sonata is less remarkable for any peculiar musical beauty than for being the complete prototype of that particular form of instrumentation for the pianoforte for which Thalberg has obtained so much the credit of originality, and to which he is entirely indebted for the great success of his writings for this instrument. Namely, carrying on the cantabile in the middle of the pianoforte during a continuation of sweeping arpeggios from the top to the bottom of its compass. As a specimen of living writers, Mr. Sloper chose a prelude in A flat from the set of six preludes and fugues, of Mendelssohn and a study in F minor of the same author, from the celebrated "Etudes de Perfectionneme.it," which is a collection of original studies of all the most popular pianists of the present day. The prelude is not a particular favourite of ours but we think the study one of the most perfect things of its length ever given to the world by its most gifted composer. Mr. Sloper concluded with the trio in E flat, from Op. 79 of Beethoven, not one of the finest of this beautiful series of compositions, but one of the least known, and therefore at this time of day one of the most interesting The violin and violoncello parts of this were sustained by Mr. Willy and M. Rousselot, who gave every evidence of careful and sufficient rehearsals. The instrumental music was relieved by two songs from Miss Dolby the first, a Sicilienne, of Pergolesi, a quaint and truly beautiful trifle, which we hope to hear again and again in the course of the season ; the second, a composition of Mr Sloper, "The Fairy's Reproach." in which she was unanimously, and as regards the music, most deservedly encored; her singing of both these was fully worthy of Miss Dolby, which as an English artist, is the highest praise we could bestow upon her. (Morning Post, Saturday, 20 February 1847)

Mr. Lindsay Sloper, the talented pianist, gave his first soirée musicale on Thursday evening. (The Lady's Newspaper & Pictorial Times, Saturday, 20 February 1847)

Mr. Lindsay Sloper commenced on Thursday night at the Beethoven Rooms, 76, Harley-street, a series of Soirées of classical pianoforte music. The programme comprised Mozart's Fantasia for two performers on one pianoforte, played by Benedict aud Lindsay Sloper; a selection from Handels " Suites de Pieces, music that ought to be in the hands of every amateur of the piano; Beethoven's Sonata No. 2, op. 29 ; Mendelssohn's Prelude in A flat major from op. 35, and study in F minor; and Beethoven's Trio No. 2, op. 79 for piano (Mr. Sloper), violin (Mr. Willy), and violoncello (Mr. Rousselot). The room was filled with amateurs and well-known artists. Mr. Sloper is classical performer, with a sound style, and a nimble finger; in fancy, perhaps, he is deficient. Miss Dolby sang a quaint Sicilienne, "Ogni pena," by Pergolesi, and a song, The Fairy's Reproach," by Mr. Sloper, in the Mendelssohnian school, charmingly. She was encored in the latter. We have to compliment Mr. Sloper on a very excellent selection, and upon its brevity. There were just two hours of delightful entertainment. (Illustrated London News, Saturday, 20 February 1847)

Mr. LINDSAY SLOPER'S First Classical Soirée took place at the Beethoven Rooms, Harley Street, on Thursday evening, and was fully and fashionably attended. This concert deserves the most especial notice from us, both as regards the materials of the programme and the mode in which the entertainment was conducted. There is nothing more absurd than the manner in which concert-givers spin out their schemes, fancying that those who pay cannot have too much for their money, and that they convey pleasure to their audiences in the direct ratio of the length of the programme. There is no greater fallacy existing. A brief entertainment which consists of the best selection of music, will invariably afford more gratification than a long, drawling concert, however it may be diversified with excellencies. This more particularly applies to the class of entertainments to which the Soirée, given at the Beethoven Rooms on Thursday night, belongs. Mr. Lindsay Sloper has set an example to all who provide entertainments for the public, which we have no doubt will be speedily followed. His Concert commenced at half-past eight, and was over at a quarter-past ten. There was no division of the entertainment into parts, but all progressed to the end without a break. The consequence was that every individual remained to the end, and no one felt the least fatigue or ennui, the invariable results of those Alexandrine music evenings which are as much in vogue, and every bit as tedious, as long Thursdays at the Opera. With respect to the programme of Mr. Sloper's concert, which we annex, our readers will perceive that a more admirable selection it was impossible to make:- Fantasia for two performers on one pianoforte, Messrs. Benedict and Lindsay Sloper; W. A. Mozart. Selection from the Suites de Piéces, Handel, pianoforte, Mr. Lindsay Sloper. Sicilienne, "Ogni pena," Pergolesi, Miss Dolby. Sonata, (Op. 29, No. 2), L. van Beethoven, pianoforte, Mr. Lindsay Sloper. Song, "The Fairy's Reproach," Lindsay Sloper, Miss Dolby, (words by Sir Bulwer Lytton). Prelude in A flat major, from Op. 35, and Study in F minor, Mendelssohn. pianoforte, Mr. Lindsay Sloper. Trio for pianoforte, violin, and violoncello, (Op. 70, No. 2), L. van Beethoven, Messrs. Willy, Rousselot, and Lindsay Sloper. The fantasia of Mozart was very finely performed, the fugued allegro of the first and last movements affording each artist an admirable vehicle for the exhibition of his powers. The selection from the Suites des Pieces was very happy, especially the allemande, and adagio and fugue, the execution of which, by Mr. Lindsay Sloper, was received with earnest applause. Indeed we have rarely heard a more brilliant performance than the very difficult, and, at the same time, very exquisite fugue of the great master, interpreted by this gentleman. The "Sicilienne" of old Pergolesi is very quaint and beautiful. It was charmingly sung by Miss Dolby. The sonata of Beethoven, it is needless to say, is one of the grandest efforts of the master. It was the great feature of the entertainment, whether we look to the composition or the performance. Mr. Lindsay Sloper seemed to feel every note of the great author in its intense meaning, and produced a great effect by his very fine interpretation of this sublime work. Mr. Sloper's song, an expressive and spirited composition, was so well given by Miss Dolby, as to be entitled to a unanimous encore. Mendelssohn's fine prelude (from his Six Preludes and Fugues, published by Addison and Hodson) and his Study (from the Etudes de Perfectionnement," published by Chappell) exhibited in another mode the excellence of Mr. Sloper's playing. The magnificent trio of Beethoven, extremely well played, concluded one of the very best entertainments of the kind which we ever attended. (The Musical world, Saturday, 20 February 1847)

We shall speak of the classical chamber music given by Mr. Sloper, next week. (The Athenaeum, Saturday, 20 February 1847)

Classical Chamber concerts - What Mr Sloper may be as a composer he has yet to prove having heretofore only performed or produced trifles of his own writing. There is no doubt, however, that he is one of our best English pianists of any age; with plenty of time before him to add to his accomplishments. At his first Soirée he selected one of Beethoven's solo sonatas - some of Handel's harpsichord music - a prelude and study by Mendelsohn, to the clear and spirited execution of which we can bear witness and Beethoven's Pianoforte Trio in E. flat. The last has not, we believe, been publicly given in London since Herr Rosenhain played it at one of Mori's Quartett Concerts. Mr. Sloper's reading of this - at once free, vigorous, expressive and delicate - was such as must have satisfied any musician, Strange to say, the violin (Mr. Willy) - and the violoncello (M. Rousselot), though both of more experienced players, were weaker and less decided than their comrade. The Trio contains two movements of rare beauty; we mean the andante and the finale, - the latter deserving a place in the foremost rank of Beethoven's finales. Nor must we omit to mention the second Razumouffsky Quartett, or the animated and fantastic movement which closes the Symphony in F, as proportionately increasing our obligation to Mr. Sloper for giving us the opportunity of hearing a fine work finely played. (The Athenaeum, Saturday, 27 February 1847)

Friday, 19 February 1847 : British And Foreign Institute's Soirée at British And Foreign Institute, George-Street.

BRITISH AND FOREIGN INSTITUTE, GEORGE-STREET. The periodical " soirée,'" which took place on Friday evening last, in the drawing rooms of the institute, was attended by the largest and most brilliant company of the season. The amusements were of the usual diversified and agreeable kind, music, both vocal and instrumental, being contributed by Miss Dolby, Miss Ransford, Mr. and Mrs Weiss, Mr. Bodda, Mr. Lindsay Sloper, Mr. Willy, Mr. W. Dorrell, Mr. Goodban, and a new Belgian violinist, whose name has escaped us; while Mr. Buckingham took occasion to deliver, in his own popular, fluent, and instructive manner, a short lecture upon Babylon and the Tower of Babel. The reunion passed off with great spirit and enjoyment, the air of polite and elegant refinement throwing over the social friendliness of the evening a great and peculiar charm. (The Standard, Monday, 22 February 1847)

Wednesday, 3 March 1847 : Mr. Lindsay Sloper's Second Soirée of Classical Piano-Forte Music at Beethoven Rooms, 76 Harley-St.

LINDSAY SLOPER'S SECOND SOIREE OF CLASSICAL PIANO-FORTE MUSIC WILL TAKE PLACE AT THE Beethoven Rooms, 76, Harley-street, Cavendish-square, ON WEDNESDAY EVENING, 3rd. Mr. SLOPER Will be assisted at this Soirée by Miss BASSANO, HERR BRANDT, Messrs. ROUSSELOT, DELOFFRE, and PILET. Tickets, for the Second and Third Soirées, Fifteen Shillings each; family tickets, to admit three to one Soirée, One Guinea each and single tickets half-a. Guinea each; may be had of Messrs. CRAMER, BEALE and Co. WESSEL, and JULLIEN ; and of Mr. LINDSAY SLOPER, 7, Southwick place, Hyde Park Square. (The Musical world, Saturday, 27 February 1847)

Mr. LINDSAY SLOPER's second soirée of CLASSICAL PIANO FORTE MUSIC, will take place at the BEETHOVEN ROOMS, 76, HARLEY-STREET, CAVENDISH-SQUARE, On WEDNESDAY EVENING, March 3. Mr. Sloper will be assisted at this Soirée by Miss Bassano, Herr Brandt, Messrs. Rousselot, Deloffre, and Pilet. Tickets, for the Second and Third Soirées, 15s. each; Family Tickets (to admit three to one Soirée), 1l. 1s. each, and Single Tickets, 10s. 6d. each, may be had of Messrs. Cramer, Beale Co.; Wessel, and Jullien, and of Mr. Lindsay Sloper, 7, Southwick-place, Hyde Park Square. (The Athenaeum, Saturday, 27 February 1847)

MR. LINDSAY SLOPER'S SECOND SOIREE - of CLASSICAL PIANOFORTE MUSIC will take place at the Beethoven Rooms, 76, Harley-street, Cavendish-square, on WEDNESDAY EVENING, March 3, to commence at Half-past Eight o'clock. Mr. Sloper will be assisted at this soirée by Miss Bassano, Herr Brandt, Messrs. Rousselot, Deloffre, and Pilet. Tickets for the Second and Third Soirée - 15s. each; Family Tickets (to admit three to one Soirée) 1l. 1s. each; and Single Tickets 10s. 6d. each, may be had of Messrs. Cramer, Beale, and Co. ; Wessel and Julien; and of Mr. Lindsay Sloper, 7, Southwick-place, Hyde Park-square. (Morning Post, Monday, 1 March 1847) (Also: Morning Chronicle (1801), Tuesday, 2 March 1847; Daily News, Tuesday, 2 March 1847.)

-Mr. Lindsay Sloper gave his second set of illustrations of classical piano forte music at the Harley-street Rooms, last evening. II is me was one of great interest, commencing with magnificent sonata for the piano forte and violin, Bach, executed by by Mr. Sloper and Mr. Deloffre; followed by selection from Scarlatti's Pieces pour le Clavecin" (an allemande,a presto and the famous "Cat's fugue"), and Beethoven's beautiful sonata in [?] minor-both capitally performed Mr. Sloper. (Globe, Thursday, 4 March 1847)

LINDSAY SLOPER'S SOIREES.-The second performance was given on Wednesday evening at the Beethoven Rooms, and included pianoforte specimens by J. S. Bach, Scarlatti, Beethoven, Cramer, Moscheles, and Mendelssohn; executed by Mr. L. Sloper, piano; M. Deloffre, violin ; and MM. Rousselot and Pilet, violoncello; Made. Mortier de Fontaine and Herr Brandt were the vocalists - The concert was well attended, and the programme afforded every gratification. The following announcement reflects great credit on the accomplished pianist:-" Mr. Lindsay Sloper begs to inform the subscribers to his Soirées of Classical Pianoforte Music, that the third soirée, originally announced for Wednesday, March 17, is postponed to the following evening; the former date having been selected for a concert to be given for the benefit of the widow and children of the late Mr. Kearns, a member of the musical profession. (Morning Chronicle (1801), Friday, 5 March 1847) (Also: Morning Chronicle (1801), Friday, 5 March 1847.)

The programme of Mr. Lindsay Sloper's second Soiree, at the Beethoven Rooms, comprised J. S. Bach's Sonata in A major, for piano and violin (M. Deloffre) ; a selection from Scarlatti's Pieces pour le Clavecin ; Beethoven's Sonata in F minor ; Cramer's Study in F sharp minor ; Moscheles' ditto in flat minor; and Mendelssohn's Trio in C minor, op. 60, for piano, violin, and violoncello, played by Mr. Sloper, MM. Deloffre and Pilet. Madame Fontaine and Herr Brandt were the vocalists-the latter singing German songs, with Rousselot's violoncello obligato. We have great pleasure in recording that Mr. Lindsay Sloper has postponed his third Soirée, fixed for Wednesday, March 17, to the following evening, the former date has been selected for the Concert, at the Hanover-square Rooms, for the benefit of the widow and children of the late Mr. Kearns. (Illustrated London News, Saturday, 6 March 1847)

MR. LINDSAY SLOPER. - This accomplished musician gave his second soirée of classical pianoforte music on Wednesday, at the Beethoven Rooms in Harley-street. The attendance was numerous and select and the programme which we subjoin, was one of high interest :- Sonata in A major, for pianoforte and violin, Messrs. Linder Sloper and Deloffre, J. S. Bach; Selections from "Pieces pour le clavecin." pianoforte, Mr. Lindsay Sloper, Scarlatti. German Songs with violoncello obligato, Herr Brandt and M. Rousselot, "Wiegenlied," (all is quiet, all is still), Spohr. "auf flugel des gesanges" (On song's bright pinions) Mendelssohn - violoncello obligato, M. Rousselot. Sonata in F minor, op. 57, pianoforte, Mr. Lindsay Slope, Beethoven. Aria "In questa tomba oscura," Miss Bassano, Beethoven. Study in F sharp major, Cramer, Study in B flat minor, pianoforte, Mr. Lindsay Sloper, Moscheles. Trio in C minor, op. 66, pianoforte, violin, and violoncello, Messrs. Lindsay Sloper, Deloffre, and Pilet, Mendelssohn Bach's sonata was a finished and most masterly performance on both hands. Mr. Sloper's perfect knowledge of the compositions of Bach we never doubted, but we had no expectation to find M. Deloffre so thoroughly up to the mark on them. We say this with no disrespect for his abilities, but for the most part, we have found violinists of the French school anything but conversant with the music of the ancient masters. In' the 'selection' from Scarlatti's "Pieces pour le Clavecin," the boldness, freedom, and distinctness of Mr. Sloper's execution were called into play with excellent results: It was altogether a most faultless performance. The studies of Cramer and Moscheles may be dismissed with the same criticism. But Mr. Sloper's powers of expression and unerring mechanism were more finely developed in the Sonata Apassionata of Beethoven than in any other part of the programme. The last movement was taken with extraordinary rapidity, but the energy, precision, and finish of the performance were preserved throughout with undiminished power. Mendelssohn's magnificent trio - very excellently rendered - made a good climax to the programme. MM. Deloffre and Pilet seconding the exertions of the pianist with vigour and judgment, We should have mentioned that Mr. Sloper was encored in the very clever and original studies of Moscheles. A word for the vocal music must conclude pour remarks. Mr. Brandt, a tenor singer; who has not appeared for four years, sang the beautiful songs of Spohr and Mendelssohn* very chastely, quietly and well - and was accompanied by M. Rousselot in an elegant and musician-like manner. In the last, "On song's bright pinions," he narrowly escaped an encore, a compliment which he and his accomplished coadjutor; M. Rousselot, well deserved. Miss Bassano being indisposed, her place was supplied by Madame Mortier de Fontaine, who sang two compositions very charmingly - a psalm by Martini and a song by Schumann, "Du mein Herz." The concert gave the highest satisfaction to all present. Mr. Sloper has handsomely changed the date of his third and last soirée, from the 17th to the 18th instant, in order to offer no impediment to the attraction of the grand concert, announced for the former day, in aid of the family of the late Mr. Kearns. (The Musical world, Saturday, 6 March 1847)

Monday, 8 March 1847 : The Beethoven Quartet Society's First Meeting for the Season at Beethoven Rooms, 76 Harley-St.

THE BEETHOVEN QUARTET SOCIETY. The zealous and enthusiastic lover of music, who originated this admirable society, is no more, but the example he set we trust has not been lost on his survivors. If ever an amateur deserved the title of the Mecænas of music, it was the late Mr. Alsager, Not content, as many are, to make it an egotistical source of mere private amusement, his object was to spread taste for its recondite and elaborate beauties fat and wide, to popularize its philosophy among amateurs, and by their medium to refine the general feeling of the public. Music was his sole relaxation, his chief social delight; and as his heart was open to all the eloquence of its appeal, so were the portals of his princely hospitality wide apart to welcome its professors, who, as hearers or as players, found an equally warm and generous reception. The good he thus gradually, but surely effected, was incalculable. The more profound and poetical works of the great triad of instrumental composers, which for so long had remained a sealed book to the multitude of amateurs, aye, and of musicians too, were, through his exertions, made familiar as household gods. But it is the lover of Beethoven who should most fondly cherish the memory of Mr. Alsager. Perhaps never was there an instance of such unbounded enthusiasm for the works of a great man, as in that lamented gentleman's reverence and adoration for the chamber-compositions of Beethoven. He knew them all by heart; every one of their melodies was to him as a dear friend ; he doted on them. And as the mother's fondness for her offspring is so frequently exemplified in a preference for the least generally admired :- "The feeblest and yet the favorite ;" so was his devotion to the quartets of Beethoven. In proportion to their being unknown and more neglected was the measure of his love for them administered. He loved the first six dearly, (as who would not ? ) but much more dearly the three that follow. The tenth and eleventh he venerated- and the last six, "the Posthumous," he idolized ; for they were the coyest to disclose the treasures of their beauty - wrapped and folded in an atmosphere of golden mist, which only the eye and the heart of enthusiasts could penetrate. So these were less courted ; nay, for a time almost abandoned ; and for this Mr. Alsager loved them more ; felt for them more; devoted himself to their interest ; and preached a crusade in their behalf, which ended in the conversion of sceptics, and the establishment of the truth, which was hidden until he unfolded it to the world. This was the noble use to which he gave up the whole of the leisure he enjoyed from those worldly occupations in the conduct of which he had earned such high distinction. In recording the opening of the third season of the Beethoven Quartet Society, it would have been but false delicacy in us to refrain from alluding, in a manner suitable to the occasion, to him who was its originator, to him who not only laid the seeds but fostered the growth, as it gradually reared its head above the ground, and who has now bequeathed it to his friend and associate in the good work, Scipion Rousselot, a musician and an enthusiast, and a fit holder of such a legacy. The day is indeed far distant when amateurs and professors of that art which he loved so well shall have ceased to mourn the loss of Mr. Alsager ; loss as unexpected as it was cruel ; and it would be an unworthy affectation in us to shrink from avowing the deep sympathy we entertain for the general feeling of regret. He was an intellectual and a good man - may we never forget to cherish and revere his memory. The first meeting for the season 1847 (the third), took place on Monday evening, at the Beethoven Rooms, which, in their new garb of white-wash, wore an appearance of desolation easily accountable to those who, like ourselves, had not entered them since last summer. However; there were so many familiar faces, that as the performances went on things began to look more cheerful, and faith and hope assumed their comfortable sway. The programme of the evening, according to the plan already adopted, comprised three quartets selected from the three different epochs of the master's career. The first was the quartet in F major, belonging to the Op. 18, which Beethoven composed in 1791, and dedicated to his illustrious patron and kind friend, the Prince Lichnowsky. In this quartet will be remarked the characteristics of Beethoven's early style, exemplified in great perfection. It is one of the most admirable of all his works, and was written just as his manner was threatening to assume its second form. Nevertheless, we have the clear design, the short and simple subjects, the independent use of the full cadence, the free control of counterpoint (some fine examples of which occur in the final movement), the natural and unaffected harmonies, and the employment of lengthened phraseology only for the effects of climax, which are the elements of Mozart's and Haydn's styles, with perhaps a greater leaning to the tender pathos of the former, than to the robust vivacity of the latter. The first movement (in F major), Allegro con Brio, has a bold subject, easily retained by the ear, and worked throughout with great fluency of counterpoint. It is highly energetic and commanding. The Adagio affettuoso ed Apassionato (in D minor), would leave nothing to be desired if Beethoven had made no progress in his art beyond what it develops. It is exquisitely pathetic, and many of its bursts of anguish would draw tears from the most callous - "And make men tremble who never weep." The scherzo is playful and most ingeniously written ; contrast being produced by the very opposite character of the trio. The final Allegro (in F major), is formed on a theme which by its capricious vivacity, while the treatment is masterly in its development and interesting in its variety. The introduction of the second theme is novel and its employment throughout the movement is marked by the most exquisite fancy. The fine effect produced by the occasional appearance of the first subject in the fugued style is also worthy the attention of those who would study Beethoven's scores with profit. There is no dryness or pedantry in it, but it appears in all the freshness of a new and beautiful thought. It may seem a bold assertion, but we cannot help stating our conviction that this quartet, which stands No. 1 on the list (although we believe it was really the third in the order of production) is equal to any of the seventeen, since from the first bar to the last it is a manifestation of genius and power of the highest order. It is also strikingly original, while it adheres in a great measure to the plan of these models which are left us in the imperishable works of Mozart and Haydn. Before stating our impressions of the manner in which the quartet was executed, it may be as well to say a word or two about M. Rousselot's position with respect to the engagements for the season, resulting from circumstances over which he could have no control. The loss of Camillo Sivori, who is absent in America, cannot be sufficiently lamented. The idea of supplying his place by any other than Ernst or Joachim would be preposterous. But M. Rousselot did his best under the circumstances, by engaging Herr David, the celebrated violinist from Leipsic. Here he was disappointed, however - illness or some other cause rendering Herr David's advent this season impossible. At his wit's end for a substitute, the arrival of M. Steveniers from Brussels offered a means of extricating himself from difficulty, which M. Rousselot would have been unwise to overlook. Steveniers was accordingly engaged to lead the quartets in alternation with M. Sainton, until the arrival of Vieuxtemps, who is expected later in the season. This gentleman is violinist to the king of the Belgians, and enjoys a very high reputation on the continent. The F major quartet of Beethoven gave us an excellent opportunity to form a judgment of his capabilities. His execution is bold and energetic perhaps occasionally wanting in finish, but for the most part effective. His intonation is rarely at fault, and his tone though thin, is agreeable and stands out in good relief. His style is chaste, polished, and wholly devoid of exaggeration. He takes no liberties with the text of his author, moreover - which is a great point of recommendation. On the whole, though M. Steveniers is not a Sivori, he is a very excellent artist, and few will be dissatisfied with him in his post among the Beethoven quartettists. The quartet was generally well executed. The adagio gave M. Steveniers occasion to show that he is quite at home in the pathetic and expressive style, and many of his readings were highly poetical. In the finale too, his execution was often so neat, brilliant, and effective, as to elicit marks of special approval from the audience. In the other parts, Sainton, Hill, and Rousselot were all that could be desired, and the ensemble was generally most satisfactory. Some exquisite effects were produced in pianissimo passages, which did not pass unnoticed. The next quartet performed was one which Beethoven wrote in 1808, seventeen years later in life - the C major, from the set dedicated to Prince Rassumowsky, op. 59. This contains the plaintive and mysterious movement in 6-8 measure, Andante con moto quasi allegretto, in A minor, and the magnificent fugued Finale, which rank among the most astonishing inspirations of the great musician. We have so often commented upon the beauties of this quartet, * that it is unnecessary here to dwell upon them. Suffice it that it was when Beethoven's second style had attained its meridian, when he had entirely forgotten Mozart and Haydn, retaining only their peculiarities of form which he had developed to gigantic proportions. It is remarkable throughout for savage independence of rhythm and harmony, for phrases long-drawn out and protracted ad infinitum, for unexpected cadences and bold progressions, for pretty melodies cut short as they are born or twisted into singular proportions by the wayward and petulant fancy of the creator, for endless successions and repetitions of climaxes, and in short for all those peculiarities which in the Posthumous Quartets are carried to the very utmost verge of musical propriety, and sometimes (must it be said ? ) tumble into the chasm beyond. Nevertheless it is a magnificent work, the genius of Beethoven having been in its veriest prime at the epoch of its production. There are effects in it that of themselves are worth a whole quartet ; the most wonderful example we can adduce being the startling interruption of the climax in the coda of the last movement, by a single note (A flat, if we recollect) played by the four instruments in unison, and the unexpected increase of and fullness of effect almost orchestral that distinguishes the resumption of the coda, and continues augmenting and augmenting till the very last notes have been struck. The frenzy of genius is here exerted with a grandeur that almost terrifies. We were much pleased with the execution of this wonderful quartet. No one plays the "Rasumowsky" Quartets with more fire and abandon than M. Sainton ; and the C major suits the breadth and energy of his style better than any of them. He played very finely on Monday, execution and style walking hand in hand up as far towards the walls that human fallibility is destined always to meet in its march to perfection as it was well possible for human fallibility to accomplish, The value of M. Steveniers was doubly felt in this quartet. The manner in which he made every point of the second violin tell, without improper obtrusiveness on the unity of the whole effect, proved him an excellent musician as well as au excellent violinist. Mr. Hill, on the tenor, always invaluable, in the C major quartet comes out with giant force. Mark him in the florid passage of the trio, in the sentimental bits of the Andante, and in the numberless traits de bravoure of the finale; in each and all he is excellent - quick, steady, energetic, and effective. Rousselot has made these quartets an especial and laborious study. It is not then to be wondered at that he is acquainted with every bit of light and shade that is necessary for their appropriate interpretation, and that his pure and classical style is never so well employed as when in the act of giving them utterance. The third and last performance of the evening was the E flat, No. 15, op. 127, the first of the quartets styled "Posthumous," composed in 1824 (sixteen years after the second, and thirty-three years after the first of those included in the programme), and dedicated by Beethoven to the Russian prince, Galitzin, who, though a zealous amateur, turned out after all but a scurvy patron. No music grows more upon you than these Posthumous Quartets. At first they seem wild, vague, rambling, and incoherent; then gleams of light appear to burst out here and there, giving us, as it were, glimpses of a paradise concealed ; then full floods of glory, in the form of stately and transparent melodies, sinuous and long-drawn-out, eloquent and persuasive, winning by repeated appeals to the seat of passion in the heart ; then harmonies that sparkle and shine, as rubies under the influence of the sun; then effects of gigantic contrast, like mighty mountains isolated on a limitless plain ; then rushings of irresistible sound, like the roar of the mighty ocean, beating and bellowing with eternal excitement, or like the torrents of some huge and ever-tumbling cataract. These at first come out in fragments, seemingly unconnected; but gradually they appear to melt into one particular hue ; a tone sleeps upon the whole, as the sun's light, more or less bright according to the period of the day; upon the bosom of the earth; the thought of the composer, the sentiment of his work, breaks out by degrees, like the first peepings of the morning, and finally the whole meaning flashes upon the brain, as the noon-day sun suddenly emerging from behind a cloud, or some tremendous truth but just discovered, which has been a truth from eternity, albeit humanity's imperfection has been blind to its manifestation. We have had our doubts and qualms about these quartets. We would fain have thought them perfect, because they were Beethoven's; but for many a long day our hearts were as stone to their impression. They melted not, nor touched us. Strong in our faith, however - our faith in Beethoven - we have undergone the ordeal of and impressions which we have faintly striven to explain, and day after day new lights break in upon us, and carry us further and further towards conviction. The E flat quartet, performed on Monday night, is one of those most likely to make themselves ultimately understood. We never enjoyed a hearing of one of the "Posthumous" more. There is so much of dim grandeur in the Maestoso ; of passion, broken on the wheel, in the Allegro teneramente; of tenderness and loving pathos in the Adagio; of capricious playfulness in its twin-sister that mixes with its being, the Andante con moto ; of wild mystery in the Scherzo, and such a mingling of the whole of them in the Finale, that it is impossible to grapple with the varied intensity of our sensations in listening to it. It is a vagary - but the vagary of the poet, magnificently various, of the many-hued clouds that wait upon the sunset. The executive triumph of the evening was decidedly this quartet, to which each of the four players brought their whole amount of enthusiasm. It was indeed a fine performance. Though Sainton held the first violin, he was not first violin, for Steveniers played up to him so admirably that the effect was as of one first violin playing a double part. In such a performance station could not be taken into account ; violins, tenor, violoncello were united into one loud instrument which gave utterance to the eloquent thoughts of the mighty dead-the poet who sleeps in the tomb, while his melodies, winged cherubs, fly over the face of the earth, and delight mankind with their beauty. The audience were enchanted, and rewarded the four executants with repeated bursts of applause and an enthusiastic greeting at the conclusion. M. Rousselot has thus begun the season of 1847, in spite of sinister events, most propitiously. Among the company we observed Mr. and Mrs. Benedict, Miss Horsley, Mrs. Anderson, Miss Kate Loder, Miss Judine, (the charming young pianist and pupil of Moscheles, who delights in giving concerts of classical music, and in playing Beethoven's concertos with full orchestra,) Mr. Lindsay Sloper, Mr. Ferdinand Praeger, Mr. Hogarth, Signor Piatti, M. Lavigne, Mr. Robert Barnett, M. Bouché (the once celebrated violinist), M. Barret, Mr. Ella, M. Eugene Coulon, M. Jules de Glimes, and many other distinguished artists and amateurs. The second meeting is fixed for Monday, the 22nd inst. We shall attend, and strongly recommend our readers to follow our example. At all events no musician should absent himself from any of the meetings. * Performed at the Musical World Concert, July 8, 1846, by Hill and Rouselot, of the Beethoven Quartet (The Musical world, Saturday, 13 March 1847)

Tuesday, 9 March 1847 : Mr. Sterndale Bennett's Second Concert of Of Classical Pianoforte Music (Evening) at Hanover-Square Rooms.

MR. STERNDALE BENNETT . - The second of Mr. Sterndale Bennett's performances of classical pianoforte music took place on Tuesday evening, in the Hanover Square Rooms, before a highly distinguished audience. The order of the programme was a follows :- PART I. - Duet in B flat, pianoforte and violin, Messrs. Blagrove and W. S. Bennett, Mozart. Preludes and Fugues, pianoforte, Mr. W. S. Bennett, J. S. Bach and Mendelssohn. Two Songs, Madame G. A. Macfarren, "To Chloe in sickness," W. S. Bennett. "The first Spring day," (MS.) G. A. Macfarren. Chamber Trio, A major, Op. 26, pianoforte, violin, and violoncello, Messrs. W. S. Bennett, Lucas, W. S. Bennett. PART ll. - Duet D major. Op. 58, pianoforte and violoncello, Messrs. W. S. Bennett and Lucas, Mendelssohn. Suite Cinquieme, from the Suites de Pieces pour le Clavecin, Mr. W. S. Bennett, Handel. Song, Mr. Hobbs, Webbe. Grand Sonata, C sharp minor, Op. 27, pianoforte, Mr. W.oS. Bennett, Beethoven. Accompanyist, Mr. W. Dorrell. On the whole this programme was superior to that of the first evening. It included one of Mr. Bennett's large works, a feature in which its predecessor was wanting ; and this fact alone lent it a higher interest. Mozart's sonata was a great treat. Mr. Blagrove played with purity of style, faultless intonation, and finished mechanism ; and Mr. Bennett was all that a thorough Mozartist could desire. The sonata was composed (according to the programme) in April, 1784 - a fact derived, no doubt, from Messrs. Coventry end Hollier's beautiful edition of Mozart's pianoforte works, so carefully edited by M. Cipriani Potter. The prelude and fugue in E major, from Bach's Clavier bien temperé (the master-piece of the author), is among the finest things in that immense work. The prelude and fugue of Mendelssohn, in E minor, belong to a set of six preludes and fugues (published by Addison and Co.), with which even musicians are not nearly enough familiar. Mr. Lindsay Sloper introduced one of the preludes in A flat) at his first soirée, but omitted the fugue, which is certainly introduced by the composer as a necessary pendent ; a proceeding very unusual with this accomplished and classical musician. It is a very interesting specimen of the composer's style, and exemplifies a particular stage in his pursuit of the more recondite branches of the art, which ought to be a subject of inquiry to every admirer of the wonderful genius of the man. To hear Mr. Bennett play these - the Bach and the Mendelssohn - was a rare treat. The legato, which is so eminent a feature in his style, was employed to advantage in the Bach - and the fire, which makes him as unlike John Cramer (the model to whom critics will insist upon comparing him) as one pianist can be unlike another, was marvellously well bestowed upon the Mendelssohn. The prelude of the latter was encored with enthusiasm. The two charming songs of Mr. Bennett and Mr. Macfarren, old fellow-students in the Academy, and friendly rivals in their love of art, could not have been entrusted to a more conscientious interpreter than Madame Macfarren, who in the tender passion of the first, and the "sprightly, springy joyfulness" (to quote a happy expression of the Post) of the last, proved herself equally able to embody two sentiments entirely opposite. The beautiful and earnest style of this young vocalist is the seed of future eminence, which it depends upon herself to attain, and that she will attain it we have little doubt. Of these lovely songs, one, "Chloe in sickness," is well known through Miss Dolby's singing, and Messrs. Coventry and Hollier's edition of Mr. Bennett's "six songs" (to which a suite of six more have been so long and so vainly expected) ; but the other, "The first spring day," is one of those many vocal gems which the composer, Mr. Macfarren, seems determined to keep to himself, much to the loss of the publishers, and the disappointment of such of the public as have heard mention made of them. We differ strongly from the Morning Post and others, who place the trio in A major of Mr. Bennett among his least happy inspirations. If the utmost perfection of grace and freshness be attained in the Moderato Assai, and the essence of sparkling playfulness be consummated in the serenade, and to conclude a high amount of energy and vigorous passion be accomplished in the Allegro Fermo ("Fermo" is an original expletive, by the way, and we entirely think that each and all of these has been achieved, we cannot for the life of us, perceive wherein lies the weakness of this trio. We, no less than the Post, "are determined to do candid justice to everything that proceeds from the accomplished mind of this elegant musician," (the elegant mind of this accomplished musician would have been better and we, unlike the Post, are bound to say of the trio in A - not that it "is the weakest composition of its author," which is preposterous, but that it is, while one of the lightest and least elaborate, one of the most charming, melodious, and captivating. A new theory of tune has lately arisen which would put the Moderato Assai of this trio out of the plea of melody. We do not understand this new theory of tune ; but we hurl defiance at it by retorting that the Moderato Assai is, from the first bar to the last, one continuous stream of melody "in many voices." Of course the execution of the trio was perfection. What less could be expected at the fingers of the composer himself, and of ancient fellow-students of the Academy, Messrs. Blagrove and Lucas? It was listened to with attention. and liberally applauded. The serenade created the most lively sensation. The second part must be shortly dismissed. The Allegretto scherzando, in B minor, of Mendelssohn's fine duet was deliciously played, and encored. Nothing to our ears can be more thoroughly captivating and beautiful than the Allemande and Courante of Handel's fifth suite. This was positively enchanting. We think less of the air varié, The Harmonious Blacksmith but Mr. Bennett's delightful playing won rapturous applause in this well-known composition. We liked Mr. Hobbs s singing very much, but Webbe's song not a bit. The C sharp minor, one of the most perfect of Beethoven's sonatas, in the fantasia style, was marvellously executed by Mr. Bennett. The slow movement at the commencement touched every heart. The minuet and trio, in D flat, were rendered with a world of graceful playfulness ; and the magnificent finale, taken with prodigious speed, made a splendid climax to an exceeding thoroughly intellectual enjoyment. (The Musical world, Saturday, 13 March 1847)

Thursday, 18 March 1847 : Mr. Lindsay Sloper's Third (Last) Soirée of Classical Piano-Forte Music at Beethoven Rooms, 76 Harley-St.

MR. LINDSAY SLOPER'S THIRD and LAST SOIREE of classical PIANOFORTE MUSIC will take place at the Beethoven Rooms, 76, Harley-street, Cavendish-square, on THURSDAY EVENING, March 18. Mr. Sloper will be assisted at this Soirée by Miss Dolby, Messrs. Sterndale Bennett and Rousselot. Family Tickets to admit three. One Guinea each: and Single Tickets, Half-a-Guinea each, may he had of Messrs. Cramer, Beale, and Co.; Wessel, and Julien; and of Mr. Lindsay Sloper, 7, Southwick-place, Hyde Park-square. (Morning Post, Tuesday, 16 March 1847)

MR. LINDSAY SLOPER'S SOIREE OF CLASSICAL PIANO-FORTE Music.-The third and last concert was, given last night at the Beethoven Rooms in Harley-square. The programme opened with Mozart's duet in F [?], two performers on one pianoforte, well executed by Sterndale Bennett and Lindsay Sloper, but the composition is too long and rather monotonous. Miss Dolby then sang one of Mozart's choicest productions, "Quando mira," in delicious style. Mr. L. Sloper played Mendelssohn's fantasia in F sharp minor, Op. 28, a work full of difficulties, beautifully overcome, but there is a great paucity of melody throughout. The second part began with Beethoven's sonata in G minor, Op. 5, for piano and violoncello. With the exception of the first movement, this is one of the composer's crude and ineffective productions. It was well sustained, but M. Rousselot sacrifices his tone for execution by playing upon such thin strings. An allemande and gigue from Lulli's harpsichord lessons, was a fine piece of counterpoint of the 17th century and some of its effects were lost in the able hands of Mr. L. Sloper, rendered as it was on a fine-toned instrument, instead of the obsolete harpsichord for which it was written. It was encored. A caprice from the Suite de Pieces, by J. S. Bach and a fugue in E minor by Handel, were more remarkable for their quaintness than their beauty. Miss Dolby gave a charming song by Mr. Sloper, "Dear is my little native Vale" with much feeling and simplicity. It was demanded a second time. The Programme terminated with studies in G minor by W. S. Bennett, and three by Mr. Sloper - very good as studies, but rather "slow" in a concert room. The preponderance of minor keys throughout the scheme was too great. (Morning Chronicle (1801), Friday, 19 March 1847) (Also: Morning Chronicle (1801), Friday, 19 March 1847.)

MR. LINDSAY SLOPER'S SOIREES. - On Thursday, Mr. Lindsay Sloper gave the last of a series of three soirées of classical pianoforte music. These performances have all been characterised by great taste in the music selected, no less than in the consummate skill displayed in its execution. The success of these, and similar concerts, is a complete refutation of the charge that the English cannot appreciate musical works of the highest order. The crowded state of our columns prevents us from giving more than a passing notice of these admirable performances, or doing justice to the genius of Mr. Sloper, of which he gave a specimen in the execution of three studies composed by himself. One of them, a study in D flat major, is surpassingly beautiful. Miss Dolby, the finest of living contraltos, sang, first an air of Mozart's, and afterwards a charming song of Mr. Sloper's, called " Dear is my little native vale." This was given with such exquisite grace and finish by Miss Dolby, that a demand for an encore was unanimous. The room was fully attended. (John Bull, Saturday, 20 March 1847) (Also: John Bull, Monday, 22 March 1847; John Bull, Saturday, 20 March 1847.)

Lindsay Sloper's Soirées of Classical Pianoforte Music. The third soirée was held at the Beethoven Rooms in Harley street on Thursday, when this admirable young pianist produced a a selection of the very best things old and new, and realised more of the entertainment gained in the private house and society of a musician than anything we ever yet experienced in public. There is a great deal of music which amateurs desire to hear, but which is generally avoided in public, lest it should prove ineffective, and involve the player in some discredit. The word ineffective is an awful bugbear to cautious people who get up concerts ; but it is time to remove it, and play everything of real merit. That is the route pursued by Mr. Lindsay Sloper, and he will acquire by it the solid reputation he deserves. We expected to hear one of the later sonatas for pianoforte and violoncello of Beethoven, but for some reason or other the one in G minor was substituted. Few performers represent the gigantic force and impassioned energy of the allegro, nor was it quite attained on this occasion ; but the exquisite second movement-a picture of the fun of Beethoven as the first is of his seriousness-was given in perfection. Rousselot performed the violoncello part. Mr. Sloper produced a beautiful specimen of the harpsichord lessons of Lulli, and his performance of a caprice of Sebastian Bach, abounding in the most charming sequences, excited lively admiration from the smoothness and clearness with which he articulated the subject in the inner parts. These tests of solid playing are to be appreciated only by practical experience. The fugue of Handel in E minor was played much too fast, and lost consequently in its character and dignity. Moscheles excelled in his reading of this fugue. We were much pleased with some of the compositions of Mr. Sloper. There is a natural vein of melody, and an avoidance of commonplace in the harmonising of his songs, which promise well for his efforts in this department. A specimen MS., very nicely sung by Miss Dolby, was deservedly applauded and encored. Of the new pianoforte studies of the composer we we preferrred the one in D flat The classical aspiration of the evening was altogether very delightful. To hear the pianoforte sound as it ought is pleasant at any time ; but to think what a glorious instrument it is, and how it is debased by villainous quadrilles and dances out of all reason and proportion, makes us wish for a musical … (Atlas, Saturday, 20 March 1847) (Also: Atlas, Saturday, 20 March 1847.)

On Thursday, Mr. Lindsay Sloper had his third and last Pianoforte Soirée at the Beethoven Rooms, and on the same night Mr. Lucas gave his fourth and last Musical Evening in Berners-street. (Illustrated London News, Saturday, 20 March 1847)

MR. LINDSAY SLOPER'S third and last these first-rate entertainments took place, in Beethoven Rooms, on Thursday the 18th. The attendance was very numerous, and audience highly attentive. The programme was as follows:- PART I. Duet in F major, for two performers on one pianoforte, Messrs. Sterndale Bennett and Lindsay Sloper, Mozart. Recit. and Aria, Miss Dolby - Mozart. Fantasia in F sharp minor, Op. 28, (pianoforte, Mr. Lindsay Sloper) - Mendelssohn. PART II. Sonata in G minor, Op. 5, No. 2, for pianoforte and violoncello, Messrs. Lindsay Sloper and Rousselot, Beethoven. Allemande and Gigue, from the "Harpsichord Lessons" Lulli. (anno 1670); Caprice from the "Suites des Piéces" J. S. Bach. Fuga in E minor, from the " Suites des Piéces," (pianoforte, Mr. Lindsay Sloper) Handel. Song, Op. 8, No. 3, Miss Dolby, Lindsay Sloper. Study in G minor, W. S. Bennett. Selection from a Set of 24 Studies, (pianoforte, Lindsay Sloper), Lindsay Sloper) We have already spoken our sentiments fully of Mr.; Sloper's refined and elegant talent. He delighted his audience on this occasion, as usual, and was greeted with liberal applause. Mozart's duet, with Sterndale Bennett, was a rare treat. It is seldom we can hear two such pianists; and two such musicians together. The fantasia by Mendelssohn, was a fine performance. The last movement was taken at tremendous speed, but Mr. Sloper accomplished it to the end without tiring either himself or his auditors. Lulli's beautiful old allemande was encored. The same compliment was paid to Mr. Sloper's song, "Dear is my little Native Vale" very elegant and charming trifle, which Miss, Dolby rendered with exquisite feeling. The audience separated at an early hour, perfectly gratified with their entertainment. We are pleased to hear that during the season Mr. Sloper will give a grand concert, with orchestra, in the Hanover Square Rooms. (The Musical world, Saturday, 27 March 1847)

MR. LINDSAY SLOPER'S SOIREES. A "grand concert" is a grand bore. And the public are beginning to discover this fact: hence the increasing popularity of musical entertainments devoted to the illustration of the works of great classical composers. "A grand concert" is easily defined. It consists of a certain number of Donizetti's weakest and most hackneyed airs, sung by a few unhappy "Mesdames" labouring under the delusion that they are second Grisis; a solo on the violin, the mere recollection of which sets one teeth on edge for a week; a savage onslaught on the pianoforte by some young lady or gentleman aspiring to Thalbergian honours; and a performance by a Signor with an extraordinary name, on an extraordinary instrument never before heard of, at which people gaze with wonderment, and think it "grand, though not pretty." But Mr. Sloper's fine taste repudiates such catchpenny performances; so he has given to the public a series of musical entertainments, selected with admirable discrimination from the works of the greatest composers. Nor has he fallen into the error, which some of his predecessors have made, of giving selections from works of a particular class only - such as those of Bach, Handel, Scarlatti, and others of the same school. We have had illustrations of these great writers, but the exclusive plan has not been followed. Mozart, Beethoven, and Mendelssohn, have each graced the programmes; thus throwing into stronger contrast the works of the older composers, and giving keener relish for both styles. On the 18th March Mr. Sloper gave his third and last soirée at the "Beethoven Rooms," in Harley Street. The first performance was Mozart's pianoforte duet in F major, the executants being Mr. Sterndale Bennett and Mr. Lindsay Sloper. To our taste, the composition is far from being a good specimen of Mozart's pianoforte music. Of a great composer we dare not always say what we think; but we feel convinced that if such a work were now published, "dry and tedious" would be the terms applied to it. It was, however, admirably played. Then came Mendelssohn's magnificent fantasia in F sharp minor, the energy and passion of which was rendered by Mr. Sloper in a style which hardly any other pianist could equal. Mr. Sloper deserves great credit for introducing two of the Harpsichord Lessons of Lulli, a composer who flourished about 1670, and whose works, though abounding in grace and beauty, are only known to the curious few. Mr. Sloper's cultivated taste and poetical feeling were here strongly shown; for he fetched out the soul (so to speak) of old Lulli, and proved that he can appreciate the music of by-gone times with as much truthfulness as he does that of his great contemporary, Mendelssohn. We have hardly left ourselves room to mention his performance of three studies of his own, a selection from a set lately published. This was the most interesting feature of the entertainment. While hearing these masterly studies, we felt a regret that Mr. Sloper should only have presented us with this specimen of his genius in pianoforte composition. However. we were treated with a charming song of his, on Roger's well-known, though poor stanzas, commencing "Dear is my little native vale." Miss Dolby was the singer. And having said this, we need hardly mention that it was given to perfection. We have watched with great interest this lady's rapid progress in her profession, from the time when, almost as a child, she startled the musical public with her impassioned singing, to the present day, when no living English singer can pretend to anything like rivalry with her. It is not merely that Miss Dolby is gifted with a voice of remarkable power, richness. and fluency, but she has a mind capable of appreciating the highest works, and intense feeling in giving them expression. In a word, she is a great singer; and she proved it on this occasion by her exquisite performance of Mr. Sloper's song. The room has been well attended at all the soirées; and the attention bestowed on the selection is the best answer to the allegation that the English cannot appreciate great musical compositions. (The Mirror of literature, amusement, and instruction, Nov. 1822-June 1847, Thursday, 1 April 1847)

MR. LINDSAY SLOPER's SOIREES. A "grand concert" is a grand bore. And the public are beginning to discover this fact: hence the increasing popularity of musical entertainments devoted to the illustration of the works of great classical composers. "A grand concert" is easily defined. It consists of a certain number of Donizetti's weakest and most hackneyed airs, sung by a few unhappy "Mesdames" labouring under the delusion that they are second Grisis; a solo on the violin, the mere recollection of which sets one teeth on edge for a week; a savage onslaught on the pianoforte by some young lady or gentleman aspiring to Thalbergian honours; and a performance by a Signor with an extraordinary name, on an extraordinary instrument never before heard of, at which people gaze with wonderment, and think it "grand, though not pretty." But Mr. Sloper's fine taste repudiates such catchpenny performances; so he has given to the public a series of musical entertainments, selected with admirable discrimination from the works of the greatest composers. Nor has he fallen into the error, which some of his predecessors have made, of giving selections from works of a particular class only - such as those of Bach, Handel, Scarlatti, and others of the same school. We have had illustrations of these great writers, but the exclusive plan has not been followed. Mozart, Beethoven, and Mendelssohn, have each graced the programmes; thus throwing into stronger contrast the works of the older composers, and giving a keener relish for both styles. On the 18th March Mr. Sloper gave his third and last soirée at the "Beethoven Rooms," in Harley Street. The first performance was Mozart's pianoforte duet in F major, the executants being Mr. Sterndale Bennett and Mr. Lindsay Sloper. To our taste, the composition is far from being a good specimen of Mozart's pianoforte music. Of a great composer we dare not always say what we think; but we feel convinced that if such a work were now published, "dry and tedious" would be the terms applied to it. It was, however, admirably played. Then came Mendelssohn's magnificent fantasia in F sharp minor, the energy and passion of which was rendered by Mr. Sloper in a style which hardly any other pianist could equal. Mr. Sloper deserves great credit for introducing two of the Harpsichord Lessons of Lulli, a composer who flourished about 1670, and whose works, though abounding in grace and beauty, are only known to the curious few. Mr. Sloper's cultivated taste and poetical feeling were here strongly shown; for he fetched out the soul (so to speak) of old Lulli, and roved that he can appreciate the music of by-gone times with as much truthfulness as he does that of his great contemporary, Mendelssohn. We have hardly left ourselves room to mention his performance of three studies of his own, a selection from a set lately published. This was the most interesting feature of the entertainment. While hearing these masterly studies, we felt a regret that Mr. Sloper should only have presented us with this specimen of his genius in pianoforte composition. However, we were treated with a charming song of his, on Roger's well-known, though poor stanzas, commencing "Dear is my little native vale." Miss Dolby was the singer. And having said this, we need hardly mention that it was given to perfection. We have watched with great interest this lady's rapid progress in her profession, from the time when, almost as a child, she startled the musical public with her impassioned singing, to the present day, when no living English singer can pretend to anything like rivalry with her. It is not merely that Miss Dolby is gifted with a voice of remarkable power, richness, and fluency, but she has a mind capable of appreciating the highest works, and intense feeling in giving them expression. In a word, she is a great singer; and she proved it on this occasion by her exquisite performance of Mr. Sloper's Song. The room has been well attended at all the soirées; and the attention bestowed on the selection is the best answer to the allegation that the English cannot appreciate great musical compositions. (The Mirror of literature, amusement, and instruction., ser. 4, v. 1 (1847)., Friday, 31 December 1847) (Also: The Mirror of literature, amusement, and instruction., ser. 4, v. 1 (1847)., Friday, 31 December 1847.)

Tuesday, 13 April 1847 : The Musical Union's Concert at Willis's Rooms, King-Street, St. James's.

MUSICAL UNION, TUESDAY, April 13, at half-past Three o'clock. - Willis's Room. - Quintet, No. 5 in D: Onslow. Trio, Op. 70, E Flat: Beethoven. Quartet, No. 10 in D: Mozart. Executants - Deloffre, Goffrie, Hill, Pilet, Piatti, and L. Sloper. Single admissions, 10s. 6d. each, signed by the Committee, to be obtained by application at Cramer and Co.'s, 201 Regent street, to J. ELLA, Director. (Morning Post, Saturday, 10 April 1847) (Also: Morning Chronicle (1801), Saturday, 10 April 1847; Examiner, Saturday, 10 April 1847.)

MUSICAL UNION, TUESDAY, April 13, half past Three o'clock, at WILLIS'S ROOMS - Quintet, No. 5. in D, Onslow: Trio, Op. 70, E flat, Beethoven; Quartet, No. 10, in D, Mozart; Executants, Deloffre, Goffrie, Hill, Pelet, Piatti, and L. Sloper. - Single admissions, 10s. 6d. each, signed by the Committee, to be obtained by application at Cramer's, 201, Regent-street. J. ELLA, Director. (John Bull, Saturday, 10 April 1847) (Also: John Bull, Saturday, 10 April 1847; Illustrated London News, Saturday, 10 April 1847.)

MUSICAL UNION. - TUESDAY, April 15, Half-past Three o'clock, WILLIS's ROOMS. - Quintett, No. 5, in D, Onslow; Trio, Op. 70, E flat, Beethoven; Quartett, No. 10, in D, Mozart." Executants, Deloffre, Goffrie, Hill, Pilet, Piatti, and L. Sloper. Single Admissions, 10s. 6d., each, signed by the Committee, to be obtained by application at Cramer, & Co.'s, 201, Regent-street. J. ELLA, Director. (The Athenaeum, Saturday, 10 April 1847)

MUSICAL INTELLIGENCE. THE MUSICAL UNION. The second meeting yesterday of this society afforded another instance of the high standard of musical execution which can be attained by diligent and frequent practice of first-rate artists in music of the most complex and severe order. In comparing the finished performances of the Musical Union with those which we were accustomed to hear at WILLIS' Rooms, under the auspices of MORI and his party, we are struck with the great advance of the executive talent of the rising talents of the present time in all that is necessary to an artistical and poetical reading of the classical masters. However humiliating be the fact, it is necessary to remark that the importation and employment of foreigners gives to the Musical Union the lead of all similar entertainments, and until we can offer the promising youths of native talent a better and cheap education in all branches of musical science and art, we fear that to close our doors against the periodical visits of foreign musicians would force as to accept a very low standard of mere mechanical excellence. Bearing on the subject of English art, Mr. ELLA, in his Record, alluding to the support given to musical institutions in London by the fair sex, with as much troth as gallantry observes that - " Our foreign and literary visitors who publish opinions on the performances of the Musical Union, in expressing astonishment to see ladies sharing with professors an equal amount of gratification, in listening to music of the severest order, seem to overlook the known fact, that although excluded from the studies of our universities, music, both as a science and art, forms an essential branch of female education, especially among the wealthy and travelled classes in this country. " Our English female writers exhibit in their works an extensive acquaintance with literature and science, and the refined sensibility of their taste sometimes marks a superiority of eloquent diction over the style of more masculine minds. Their delineation of the qualities of the female heart is tinged with a delicate perception of the beautiful and sublime in nature, that at once asserts the instinct of that poetical temperament which is an indispensable element of excellence in all arts. It is the absence of this divine gift among, English musicians in general, that so often proves a barrier to the success of their laudable attainments, whilst many a foreigner of far less mechanical knowledge, more favourably organized, at once engages the sympathies and carries off the prize.. .. . … …. Music has been made a profession in England, too frequently as a means of easy existence, without sufficient regard being paid to a favourable organization in the student." We commend these reflections to the "Young England" professors, whose antipathies to foreign genius and "cacoethes carpendi" are so offensively expressed in their abusive attacks upon that gifted individual COSTA, whose "delicate perception of the beautiful and sublime in art and untiring energies have greatly tended to elevate the musical character of this country, and given that "local habitation and name" to musical England which it now enjoys among foreigners The success of the Musical Union, by its admirable management, also commands respectful opinions, and our supposed want of musical taste is no longer the jesting topic of foreign musicians. Of the latter were many remarkable persons in the room yesterday, highly delighted ; and the programme offered, as Mr. ELLA stated in his synopsis analytique, great attraction to the professional visitors, as well as to the members - dilettanti. The selection consisted of:- Quintet, in D, No. 5. Two violins, viola, and two violoncellos [ONSLOW]. Trio, E flat, Op. 70. Pianoforte, violin, and violoncello [BEETHOVEN]. Quartet, in D, No. 10 [MOZART]. The executants being-First violin, M. DELOFFRE; second violin, HERR GOFFRIE ; viola, Mr. HILL ; violoncello, M. PILET; violoncello, Signor PIATTI; pianoforte, Mr. LINDSAY SLOPER. Two English, two French, one German, and one Italian. The quintet of ONSLOW had the rare advantage of being executed by two great artists in the violoncello parts, PILET and PIATTI ; the exquisite delivery of the cantabile, by the Italian violoncellists, in the largo, elicited much applause throughout the room - a more valuable lesson in taste and expression to the amateurs present could not be heard ; and such fine examples by the various artists engaged at these meetings render the latter both profitable as well as pleasurable to the student. The charming minuet and trio were most gracefully executed by M. DELOFFRE, and throughout the quintet the other executants were entitled to a share of the applause which succeeded the finale. BEETHOVEN'S fine trio, Op. 70, in E flat, is, indeed, of the highest order of writing, as the Record justly sets forth - full of beautiful imagery and happy contrasts wrought by the master mind of the greatest musical poet that ever lived. Mr. LINDSAY SLOPER's playing we need only remark that it was a conscientious and meritorious rendering of the composer's intentions, and his coadjutors, Messrs. DELOFFRE and PILET, well mastered the intricacies of their accompaniments. A more perfect ensemble in the general execution of this trio, with its lovely minuet, we have never heard at a public performance in this country. The master-piece in symmetry and melodious counterpoint was reserved for the last, and a more delicate delivery of all the parts of MOZART's quartet No. 10 we have seldom heard; and after one hour and a half's intellectual feast, the members dispersed, with those feelings of satisfaction and delight which are invariably the never-failing results of the good music and good playing at the Musical Union. Among the nobility and artists were, of the latter, several of great repute from the continent, including the debutante vocalist last year, Mddle DE MENDI, Messrs. STEVENIERS, HOLZEL, PANOFKA, and the celebrated Viennese brothers HELMSBERGER, the eldest brother being engaged to play during the season. MENDELSSOHN. -This great composer arrived in town . on Monday, accompanied by JOACHIM, the youthful violinist, who created such a great sensation two seasons since. (Morning Chronicle (1801), Wednesday, 14 April 1847)

Musical Union. THE concert of Tuesday was one of the best that we have attended ; it consisted but of three pieces, but they were so admirably performed as to leave a strong impression on the memory. Piatti and Pilet played the two violoncellos in a quintet of Onslow in D, and with Deloffre, Goffrie, and Hill, made an exquisite combination. We have rarely heard anything more solemn and beautiful than the adagio in B minor, which is like a fine organ movement. Such perfect execution and tone recommend Onslow's productions to higher consideration than they have yet received. Pilet and Deloffre played with Lindsay Sloper a pianoforte trio in E flat of Beethoven, of which the most effective movements were the slow movement in C major and the finale. We highly estimate the talents of both the stringed players in classical chamber music, and Mr Ella does himself much credit in bringing them forward. Deloffre has great purity of execution, and a most pleasing, unaffected style; and Pilet has a perfect manner of attacking the notes of his part. His tone on the lower strings is also exceedingly fine. The quartet of Mozart in D, with which the music concluded, was well played ; but the construction of the finale suffered through too great rapidity in the time. (Atlas, Saturday, 17 April 1847) (Also: Atlas, Saturday, 17 April 1847.)

The Musical Union. -At the second meeting on Tuesday afternoon, at Willis's Rooms, Onslow's Quintet in No. 5, for two violins (Deloffre and Goffrie), viola (Hill), and two violoncellos (Piatti and Pilet), was charmingly played, Piatti distinguishing himself in the largo, and Deloffre in the minuet and trio, well sustained throughout by the other able executants. Lindsay Sloper, aided by Deloffre and Pilet, gave an artistical reading of Beethoven's Trio in E flat, op. 70. Mozart's Quartet in D, No 10, concluded this fine selection. (Illustrated London News, Saturday, 17 April 1847)

THE MUSICAL UNION. - Mr. Ella's second meeting was honored by a more numerous attendance of nobility and fashion than his first. There were also many artists and amateurs of note present. There was nothing very new in the selection, as the following will show :- Quintet in D, No. 5, two violins, viola, and two violoncellos Onslow. Trio in E. flat Op. 70, pianoforte, violin, and violoncello Beethoven. Quartet in D, No. 10, two violins, viola, and violoncello Mozart. Executants. First Violin, Mr. Deloffre. Second Violin, Goffrie. Tenor. Mr. Hill. Violoncello, Signor Piatti. Viola, Mr. Pilet. Pianoforte, Mr. Lindsay Sloper. The quintet of Onslow, a very ingenious and equally uninteresting composition, was well played on the whole, but produced no great impression. The point of interest was Piatti's beautiful delivery of a cantando phrase in the slow movement, and this was well entitled to the applause it received. The trio of Beethoven is a composition of such originality and intricacy as demands absolutely three first rate players to do it justice. Mr. Lindsay Sloper is a first-rate pianist, and played his share of the trio as finely as the most fastidious connoisseur could have desired. Nothing could be more charming and unaffected than his expression, and nothing more brilliant, certain and polished than his execution. But we cannot award equal praise to his coadjutors, who, in tone, decision, style and mechanism, are somewhat in the rear of what is desirable for a composition of such elaboration, variety and energy. They are good artists, nevertheless, and it is always a pleasure to us when we can conscientiously award them that praise which justice compels us at least to qualify on this occasion. The quartet of Mozart was a performance of average quality. With such an excellent second violin as Goffrie, and such a perfect tenor as Hill, there was not likely to be much fault to find ; but there seemed to us a want of that grandeur of style and irreproachable execution which the lavish encomiums bestowed by Mr. Ella (beforehand) in his "Record," would have led us to expect, had we been simple amateurs, like our excellent friend of "The Chronicle," ready to swallow, without wincing, the tremendous doses of eulogy which the director of the Musical Union administers through the medium of that sheet. We have elsewhere discussed what we take the liberty to think a demonstration of equivocal taste on the part of that worthy and enterprising gentleman, and so shall drop the subject here. On the whole the performance gave pleasure. One of its greatest recommendations was its brevity. (The Musical world, Saturday, 17 April 1847)

Tuesday, 27 April 1847 : The Musical Union's Third Meeting (Morning).

MUSICAL UNION. - TUESDAY, April 27th, Half-past Three o'clock.-Quartet in G, No. 76, Haydn; Concertante for two Violins, Op. 88, Spohr; Quartet in F, Op. 59, Beethoven. Executants. The brothers Joseph and George Helmsberger (from Vienna), Messrs. Deloffre, Hill, Hausman, and L. Sloper. - Single Admission, 10s. 6d. each, to be had on application to the Director, of Cramer and Co., 201, Regent-street, and Ollivier, Bond-street. No more invitations for resident artists will be issued. Artists of distinction from the Continent, on personal application, will be furnished with free admissions from the Director, J. Ella. (Morning Post, Thursday, 22 April 1847) (Also: John Bull, Saturday, 24 April 1847; Examiner, Saturday, 24 April 1847; John Bull, Saturday, 24 April 1847; Morning Post, Monday, 26 April 1847.)

THE MUSICAL UNION. - TUESDAY, April 27, Half-past Three o'clock. - Quartet in G, No. 76, Haydn: Concertante for two violins, Op. 88, Spohr Quartet in F, Op. 59, Beethoven; Executants: the brothers Joseph and George Helmesberger, (from Vienna), Messrs. Deloffre, Hill, Hausman and L. Sloper. Single Admission, 10s. 6d. each, to be had on application to the Director; of Cramer, Beale & Co.'s., 201, Regent-street, and Ollivier, Bond-street; No more invitations for resident Artists will be issued. Artists of distinction from the Continent, on personal application, will be furnished with free admissions from the Director, J. ELLA. (The Athenaeum, Saturday, 24 April 1847)

MUSICAL INTELLIGENCE. THE MUSICAL UNION. The third meeting of this prosperous and admirably conducted institution was yesterday attended by royalty, rank. and celebrated artists from almost every country in Europe. His Royal Highness the Duke of CAMBRIDGE arrived punctually at the hour of commencing, and the elder of the two young violinists from Vienna, who made their first appearance in England at this matinée, was introduced to the royal president. It is a singular coincidence that three out of the four precocious violinists of the Vienna Conservatoire, who, seven years ago, produced so much sensation in that capital by their finished playing of MAURER'S concerto for four violins, are now in England, and engaged at the Musical Union, viz., JOSEPH and GEORGE HELLMESBERGER, and JOSEPH JOACHIM. The music of yesterday's programme was varied and extremely interesting, and was purposely selected to exhibit the abilities of the brothers HELLMESBERGER in the execution of a brilliant duet for two violins, and to afford the elder brother an occasion to display his talents in music of a different order of composition, demanding a judgment matured by observation and a taste formed by good examples. The remarks of Mr. ELLA in his record of the education and feeling of musical genius in Germany, are quite apposite to the effect produced by the intellectual and excellent performances yesterday of the HELLMESEBERGERS, and we give the following extract:-" Nurtured in the cradle of modern musical genius, by the traditionary influence of those living contemporaries of BEETHOVEN, under whose auspices these amiable and talented youths have been instructed in their native city, their claims to the suffrages of English amateurs have a double interest. The musical feeling of these violinists is best appreciated in works of a reflective character, for in no other country are instances of deep thought in art so common to the youthful mind as in Germany - a faculty best described in that untranslatable word gemuth, as being totally distinct from that artificial sentiment of unbridled passion, which passeth for what it is not-a soul for music. "II y a chez les Allemands," says Mad. de STAEL, " plus d'imagination que de vraie passion." The truth of this opinion is illustrated in the every-day examples of the indomitable spirit of the persevering German, unraveling the mysteries of his art and producing works of deep imagination, often times little calculated to rouse the passions, whilst the French and Italians, of a more vivacious and ardent temperament, maintain their ascendancy, with little knowledge of science, by their vivid and successful portraiture of character, in music less profound but sufficiently true for its purpose in the lyrical art." Were we to institute a comparison between Joseph HELLMESBERGER and JOSEPH JOACHIM, we might perhaps be not far wrong in awarding masculine thought to the latter, grace and delicate expression to the former; both are gifted with poetical instinct, having a just perception of the beautiful in art, and a reverence for the works of their favoured country. The music, as will be seen by the following programme, severely put to the test the executive and mental powers of the elder brother, whilst the latter had enough to do, and that he did well, in keeping up to his partner in the brilliant and difficult concertante by SPOHR. Quartet, Op. 70, in G.-HAYDN. Seconde Concertante, pour deux violons. Op. 18.- SPOHR. (Arrangee avec accomp. de piano). First violin, JOS. HELLMESBERGER; second violin. GEO. HELMESBERGER; pianoforte, M. L. SLOPER. Quartet, No. 1, Op. 59, in F., dedicated to Prince RAUMOFFSKY.-BEETHOVEN. EXECUTANTS.-Violins, Jos. and Geo. HELLMESBERGER ; second violin, M. DELOFFRE ; viola, Mr. HILL ; violoncello, Herr HAUSMANN ; pianoforte, Mr. LINDSAY SLOPER. Nothing could be more finished and tasteful than the rendering of HAYDN's quartet, and the obligato trio was given by J. HELLMESBERGER with all the ease and abandon of a thoroughly accomplished violinist, which elicited bravos from all parties. The duet for the two violins was excellently played; the various combinations of double stops for both violinists, in the slow movement, being most accurately performed, whilst the intricate passages and varieties of bowing in the finale, exhibited their entire mastery over their instruments. The pianoforte accompaniment to this duet was in excellent hands, and was extremely well performed, proving Mr. LINDSAY SLOPER to be a very excellent accompanyist -a quality more rare than is imagined among the brilliant soloists on this instrument. The severest trial of the mental capacity of the quartet performers was reserved for the interpretations of BEETHOVEN'S magnificent quartet, a composition of vast conception, replete with ideas the most captivating and startling - a grand epic of instrumental music! In this superb work the playing of HAUSMANN, HILL, and DELOFFRE was quite worthy of the companionship of the first violinist, and all the marvellous intricacies of every part were so clearly defined as to satisfy the most fastidious critic. The fact of so numerous an assemblage of noble and distinguished amateurs patiently enjoying the effects of so recondite a composition, gives signs of encouragement to the higher-class musicians, who disdain to barter their reputation to suit the frivolous taste of the multitude. In addition to the Royal President, we observed present their Graces the Dukes of Beaufort and Roxburgh, and Duchess Dowager of Roxburgh, Earl of Cawdor, Earl of Falmouth, Viscount Emlyn, Viscountess Lilford, Lord Gerald Fitzgerald, Lord Saltoun, Lord Trimleston, Lord Hotham, Lady C. Powlet, Lady Anne Cavendish, Lady Anne Murray, Lady Anne Legge, Lady Mary Christopher, Honourable Mrs. Bruce, Honourables Mr. Parsons, Mr. Cadogan, Major Legge, Colonel Upton, Mr. O'Callaghan, Hon, and Rev. Mr. Hotham, &c. Madame Oury; Costa, Vieuxtemps, Sainton, Wallace, &. Vieuxtemps leads the next seance, and Joachim the one after. Herr Schuloff, a native of Prague, who has been extremely successful as a pianist in Paris, was also present. Wilmers, the Danish pianist, is daily expected. (Morning Chronicle (1801), Wednesday, 28 April 1847) (Also: Morning Chronicle (1801), Wednesday, 28 April 1847.)

The Musical Union.-At the third meeting of this excellent institution, on Tuesday afternoon, in presence of his Royal Highness the Duke of Cambridge, and a host of amateurs, Haydn's Quartet in G, Op. 76, Beethoven's Quartet, No. 1, Op. 59, in F; and Spohr's second Concertante for two two violins, comprised the scheme. The executants were Joseph and George Helmsberger, the sons of the leader of the Imperial Opera in Vienna; M. Deloffre, second violin; Mr. Hill, tenor ; Herr Hausmann, violoncello; and Lindsay Sloper, pianoforte. The brother violonists made most successful debuts on this occasion. Joseph, the elder, is a first-rate artist, who proved himself to be as capable of leading in the Haydn quatuor as he was of conquering Spohr's difficult combinations; Hausmann, Hill, Deloffre, and Sloper also exhibited their executive powers to the best advantage. Amongst the artists present were Herr Schuloff, the pianist from Prague; Madame Oury, the pianiste; Sainton and Vieuxtemps, the violinists; Costa, Wallace, &c. (Illustrated London News, Saturday, 1 May 1847)

Sollten wir eine Vergleichung anſtellen zwiſchen Joſeph Hellmesberger und Joſeph Joachim, ſo dürften wir nicht allzu ſehr irren, wenn wir dem letztern kräftig-männliches Gefühl und dem erſternAnmuth und feine Empfindung vorzugsweiſe zuſprechen; beide aber ſind mit poetiſcher Innerlichkeit begabt, und haben eine richtige Auffaſſung des Schönen in der Kunſt, nebſt der Pietät für die Werke ihres begünſtigten Vaterlandes. Die gewählten Muſikſtücke (wie das nachfolgende Programm beweiſt) ſtellten die erekutiven und intellektuellen Fähigkeiten des älteren Bruders auf eine ſcharfe Probe, während der jüngere genug zu thun hatte, - und er löſte ſeine Aufgabe beſtens, - um hinter ſeinem Mitſpieler in dem ſo brillanten wie ſchwierigen Spohr'ſchen Concertante nicht zurück zu bleiben. Das Programm lautete: 1. Quartett, op. 76 in G von Haydn; 2. zweites Concertante für zwei Violinen, op. 18, von Spohr, mit Klavierbegleitung arrangirt; 3. Quartett, op. 59, Nr. 1 in F von Beethoven (dem Fürſten Raſumoffsky gewidmet) Ausübende: an der Violine Joſef und Georg Hellmesberger, an der zweiten Violine Hr. Deloffre, an der Bratſche Hr. Hill, an Violoncell Hr. Hausmann, am Fortepiano Hr. Lindſay-Sloper. Eleganter und geſchmackvoller läßt ſich das Haydn'ſche Quartett nicht vortragen, als es von Hrn. Hellmesberger geſchah, und namentlich zeigte er im obligaten Trio die ganze Leichtigkeit und Freiheit vollendeter Virtuoſität, ſo daß von allen Seiten Bravorufe erklangen. - Das Duett für die beiden Violinen wurde ebenfalls vortrefflich geſpielt; die vielfältigen Combinazionen von Doppelgriffen für beide Partien im Andanteſatz geriethen auf das genaueſte, während die verwickelten Paſſagen und die Mannigfaltigkeit der Stricharten im Finale den Brüdern Gelegenheit bot, ihre vollkommene Meiſterſchaft über das Inſtrument kundzugeben. Die Klavierbegleitung dieſes Konzerts war in den beſten Händen und wurde ausgezeichnet erekutirt, Hr. Lindſay-Sloper zeigte ſich als ein ganz vortrefflicher Accompagnateur, eine Eigenſchaft welche ſeltener iſt, als die Bravourſpieler glauben. Die ſchwierigſte Aufgabe. Hinſichts der geiſtigen Auffaſſung war den Quartettiſten in Beethovens prachtvollem Quartett vorbehalten; es iſt ein Werk von ungeheurer Conception, voll der einſchmeichelndſten, wie der überraſchendſten Gedanken, ein großes epiſches Gedicht in Tönen! In dieſem herrlichen Quartett waren die Leiſtungen von Hausmann, Hill und Deloffre des erſten Violoniſten ganz würdig, und die wunderbaren Feinheiten und Verwebungen jedes Satzes wurden mit einer Deutlichkeit verdollmetſcht, die auch den ſtrengſten Kritiker zufrieden ſtellen mußte. (Wiener Allgemeine Musik-Zeitung, Thursday, 20 May 1847)

Friday, 7 May 1847 : Mr. W. Kuhe's Grand Matinée Musicale at Hanover-Square Rooms.

HERR KUHE has the honour to announce that his GRAND MATINEE MUSICALE will take place at the Hanover-square Rooms on FRIDAY, May 7, to commence at Two o'clock precisely, on which occasion he will be assisted by the following celebrated artistes :- Vocalists- Mesdames Lutzer, Knispel, Dolby, De Rupplin. Pyne; Signori Marras and Galli, Herr Holzel, Mr. Gregg, and Mr. John Parry. Instrumental Performers-Pianoforte, Madame Dulcken and Herr Kuhe; Guitar Mr. L. Schulz; Violin, Messrs. J. and G. Hellmesberger; Violoncello, M. Hausmann. Conductors, Messrs. Lindsay Sloper and Kuhe. Tickets, Half-a-Guinea each, and Reserved Seats, 15s. each, may be had at all the principal music warehouses, and of Herr Kuhe, 3, Great Marlborough-street. (Morning Post, Wednesday, 5 May 1847)

HERR KUHE has the honour to announce that his GRAND MATINEE MUSICALE will take place at the Hanover-square Rooms TO-MORROW, to commence at Two o'clock precisely, on which occasion he will be assisted by the following celebrated artistes :- Vocalists- Mesdames Lutzer, Knispel, Dolby, De Rupplin. Pyne; Signori Marras and Galli, Herr Holzel, Mr. Gregg, and Mr. John Parry. Instrumental Performers-Pianoforte, Madame Dulcken and Herr Kuhe; Guitar Mr. L. Schulz; Violin, Messrs. J. and G. Hellmesberger; Violoncello, M. Hausmann. Conductors, Messrs. Lindsay Sloper and Kuhe. Tickets, Half-a-Guinea each, and Reserved Seats, 15s. each, may be had at all the principal music warehouses, and of Herr Kuhe, 3, Great Marlborough-street. (Morning Chronicle (1801), Thursday, 6 May 1847)

HERR KUHE has the honour to announce that his GRAND MATINEE MUSICALE will take place at the Hanover-square Rooms THIS MORNING, to commence at Two o'clock precisely, on which occasion he will be assisted by the following celebrated artistes :- Vocalists- Mesdames Lutzer, Knispel, Dolby, De Rupplin. Pyne; Signori Marras and Galli, Herr Holzel, Mr. Gregg, and Mr. John Parry. Instrumental Performers-Pianoforte, Madame Dulcken and Herr Kuhe; Guitar Mr. L. Schulz; Violin, Messrs. J. and G. Hellmesberger; Violoncello, M. Hausmann. Conductors, Messrs. Lindsay Sloper and Kuhe. Tickets, Half-a-Guinea each, and Reserved Seats, 15s. each, may be had at all the principal music warehouses, and of Herr Kuhe, 3, Great Marlborough-street. (Morning Post, Friday, 7 May 1847)

THE QUEEN'S CONCERT ROOMS, HANOVER. SQUARE. Herr Kuhe's grand matinée musicale took place yesterday. The programme was well selected, and was admirably interpreted by many of the celebrities now in London. The concert-giver performed Prudent's grand fantasia on themes from the Lucia - a grand duo for violin and pianoforte with Joseph Hellmesberger, consisting of airs from Don Giovanni, arranged by Wolff and Vieuxtemps - a fantasia on airs from Nino, composed by himself- and a duo with Madame Dulcken, from airs selected from La Fille du Regiment, also composed by Herr Kuhe. This gentleman is a pianist of the first class ; his style is unexaggerated, his mastery of executive difficulties is complete, and his tone is round and firm. His compositions are in the modern mode, and though full of brilliant effects, are never disfigured by exaggerations, and false harmonies. His reception was most genial. The brothers Hellmesberger performed a duet, by Kaliwoda, with wondrous dexterity and finish - the music is. however, poor and perruque." Miss Dolby sang Mozart's exquisite aria, "Quando Miro," charmingly ; and the Misses Pyne rendered the duo bolero, from Les Diamans de la Couronne, with remarkable neatness, their voices harmonising deliriously. Jenny Lutzer gave one of Schubert's songs with great dramatic passion, and Signor Marras was deservedly applauded in "Bella Adorata," and " La mia Letizia," from I Lombardi. Signor Ciardi, an admirable flautist, made his first appearance in this country - his quality of tone is exceedingly rich, and his execution unfailing. Herr Holzel inflicted two German mystifications ; his imitation of Pischek is as absurd as his intonation is reckless, Mr. Gregg (pupil of Herr Staudigl) sang "Rage thou angry storm." He is a basso of good power and compass, and does great honour to his distinguished instructor. Madame Knispel has an excellent voice, but lacks refinement. The room was full and fashionably attended, Jenny Lind occupied one of the boxes. The concert was conducted by Mr. Lindsay Sloper and Herr Kuhe. (Morning Post, Saturday, 8 May 1847)

Lindsay Sloper and Herr Kuhe accompanied the pieces with ability. [Abridged] (Morning Chronicle (1801), Saturday, 8 May 1847)

Friday, 21 May 1847 : British And Foreign Institute's Soirée at British And Foreign Institute, George-Street.

The soirée given at the British and Foreign institute, on Friday night, was one of the most brilliant that has yet taken place. The rooms were filled to over flowing with noble and distinguished individuals. The vocalists who assisted upon the occasion were Miss Isaacs, Miss E. Reviere, the Misses Pyne, Madame Claire Hennelle, Mrs. Alfred Shaw, Miss Ransford. Madame Macfarren, Madame Lafontaine, &c, and the instrumentalists were M. Boucher, M. Goffrie, Mr. Case, Mr. Muhlenfeldt, Mr. F. Chatterton, and Mr. Lindsay Sloper. In the course of the evening Mr. Buckingham delivered one of his amusing and instructive dissertations on the cities of Bagdad and Cairo. (The Standard, Monday, 24 May 1847)

Tuesday, 25 May 1847 : The Melodists' Club's Dinner (Fifth).

Lord Saltoun will preside at the next dinner of the Melodists' Club, on the 25th, to which M. Godefroid, the eminent harpist; Mr. Richardson (flute), and Mr. Lindsay Sloper (pianoforte), have been invited. (Morning Post, Monday, 17 May 1847)

Lord Saltoun will preside at the next dinner of the Melodists' Club, on the 25th, to which M. Godefroid, the eminent harpist, Mr, Richardson (flute), and Mr. Lindsay Sloper (pianoforte), have been invited. (The Lady's Newspaper & Pictorial Times, Saturday, 22 May 1847)

The Melodists.-- The fifth dinner of the Melodists' Club will take place to-morrow, at the Freemasons' Tavern, Lord Saltoun in the chair. Godefroid, the eminent Parisian harper ; Richardson, the flautist, and Lindsay Sloper, the pianist, have been invited for the occasion. (Morning Post, Monday, 24 May 1847)

Melodists. - Lord Saltoun presided at the Melodists' Club yesterday, supported by Sir Andrew Barnard, and a numerous assemblage of amateurs and professors of music. Several glees were sung by a most effective vocal choir, and Signor Marras sung two songs most excellently . His "Come Gentil," from Don Pasquale, was rapturously applauded. The treat in the instrumental department was of the highest order. M. Godefroid played a studio of his own on the harp most admirably, followed by the " Dance of the Sylphs," which drew forth universal applause from the delighted company. Mr. Richardson played "O dolce concerto," with new variations for the flute, in the most brilliant manner, and he richly deserved the applause which his excellent performance elicited from the company. Mr. Lindsay Sloper not only accompanied several of the vocal pieces and solos, but he gave a galop, by Schuloff, we believe, in a most brilliant manner, which was loudly applauded. The Secretary announced that the last meeting of the season would take place on the 29th of June, when it was expected that the Earl of Westmorland would preside-(Loud cheers)- and on that occasion ladies would be introduced to hear the musical performances. Lord Saltoun, in returning thanks when his health was drunk, stated that both Sir Andrew Barnard and himself had given up Jenny Lind for the Melodists' Club ; a stronger test of their devotion to the welfare of the club could not be adduced. Everything passed off most harmoniously. (Morning Post, Wednesday, 26 May 1847)

Lord Saltoun presided at the Melodists' Club on Tuesday, supported by Sir Andrew Barnard, and a numerous assemblage of amateurs and professors of music. Several glees were sung by a most effective vocal choir, and Signor Marras sung two songs most excellently. His "Come Gentil," from "Don Pasquale," was rapturously applauded. The treat in the instrumental department was of the highest order. M. Godefroid played a studio of his own on the harp most admirably, followed by the "Dance of the Sylphs," which drew forth universal applause from the delighted company. Mr. Richardson played " O dolce concento," with new variations for the flute, in the most brilliant manner, and he most richly deserved the applause which his excellent performance elicited from the company. Mr. Lindsay Sloper not only accompanied several of the vocal pieces and solos, but he gave a galop, by Schuloff, which was loudly applauded. The secretary announced that the last meeting of the season would take place on the 29th of June, when it was expected that the Earl of Westmoreland would preside - (Loud cheers) - and on that occasion ladies would be introduced to hear the musical performances. Lord Saltoun, in returning thanks, when his health was drunk, stated that both Sir Andrew Barnard and himself had given up Jenny Lind for the Melodists' Club. Everything passed off most harmoniously. (The Lady's Newspaper & Pictorial Times, Saturday, 29 May 1847)

THE MELODIST'S CLUB. - There was a brilliant meeting of this association at the Freemasons' Tavern, on Tuesday ; the gallant Lord Saltoun in the chair, supported by Sir Andrew Barnard. Several foreigners were present, among whom was M. Fiorentino, of Le Constitutionel. They appeared much pleased with the performance of "Non nobis Domine," and other vocal compositions in parts, which were sung in the course of the evening. Signor Marras sung "Come Gentil," and another song, excellently. M. Godefroid performed a Studio, followed by the Danse des Sylphes, on the harp, in a masterly style, eliciting several rounds of applause. M. Godefroid justifies all the praise of M. Fiorentino and his Parisia friends. Mr. Richardson played "O dolce concento," with new variations, on the flute, in a brilliant manner, and was accompanied on the pianoforte, by Mr. Lindsay Sloper, who subsequently performed a solo, which was received, as it deserved, with the highest favor. Mr. Parry, the honorary Secretary, announced that he expected the Earl of Westmoreland would arrive in London in time to preside at the last meeting of the club, on the 29th June, when ladies will be introduced to hear musical performances. (The Musical world, Saturday, 29 May 1847)

Saturday, 5 June 1847 : Madame Mortier De Fontaine's Matinée Musicale at Beethoven Rooms, 76 Harley-St.

MADAME MORTIER de FONTAINE has the honour to announce that her MATINEE MUSICALE will take place at the Beethoven Rooms, 76, Harley-street, on SATURDAY, June 5, to commence at Two o'clock precisely, on which occasion she will be assisted by the following eminent artistes : - Vocalists, Mesdames Hennelle de Lozano, E. Birch, Signori Marcolini and Montelli, and Mr. John Parry. Instrumental Performers, Pianoforte, Mr. Lindsey Sloper ; Harp, Madame d'Eichthal ; Violoncello, M. Reusselot; Conductors, Messrs. Benedict and Lindsay Sloper. Reserved Seats and Tickets may be had at all the principal Music Warehouses, and of Madame Mortier de Fontaine, 15, South Molton-street. (Morning Post, Wednesday, 2 June 1847) (Also: Morning Post, Wednesday, 2 June 1847; Morning Post, Friday, 4 June 1847; Morning Post, Friday, 4 June 1847.)

MADAME MORTIER de FONTAINE has the honour to announce that her MATINEE MUSICALE will take place at the Beethoven Rooms, 76. Harley-street, on Saturday. June t commence at 2 o'clock precisely, on which occasion she will be assisted by the following eminent artistes:- Vocalists - Mesdames Hennelle de Lozano, E. Birch, Signori Marcolini and Montelli, and Mr. John Parry. Instrumental performers - Pianoforte. Mr. Lindsey Sloper; harp. Madame d'Eichthal; violoncello, M. Rousselot. Conductors - Messrs. Benedict and Lindsay Sloper. Reserved seats and tickets may be had at all the principal music warehouses and of Madame Mortier de Fontaine. 15, South Molton-street. (The Times, Thursday, 3 June 1847)

MADAME MORTIER de FONTAINE has the honour to announce that her MATINEE MUSICALE will take place at the Beethoven Rooms, 76, Harley-street, THIS MORNING, June 5, to commence at Two o'clock precisely, on which occasion she will be assisted by the following eminent artistes : - Vocalists, Mesdames Hennelle de Lozano, E. Birch, Signori Marcolini and Montelli, and Mr. John Parry. Instrumental Performers, Pianoforte, Mr. Lindsey Sloper ; Harp, Madame d'Eichthal ; Violoncello, M. Reusselot; Conductors, Messrs. Benedict and Lindsay Sloper. Reserved Seats and Tickets may be had at all the principal Music Warehouses, and of Madame Mortier de Fontaine, 15, South Molton-street. (Morning Post, Saturday, 5 June 1847) (Also: Morning Post, Saturday, 5 June 1847.)

MADAME MORTIER DE FONTAINE'S MATINEE MUSICALE.-The concert of this vocalist on Saturday at the Beethoven Rooms presents little matter for criticism; she possesses a good style, and in the Non piu di fiori of Mozart was enabled to display her classical accomplishments, although her organ scarcely responded to the calls made upon it, Madame de Lozano, a Spanish lady who has been compelled by adverse circumstances to become a professional singer, sang the "Pensa all patria," from the Italiana in Algeri very creditably but it was scarcely judicious to choose that cavatina which Alboni has made her own. Mr. John Parry sang his two new songs by Albert Smith, "Lalla Rookh" and the "Rival Opera-houses" with great spirit. Lindsay Sloper and Rousselot assisted in the scheme, but of the other artists we can report little favourable. Owing to the regulation prohibiting the artists of the two Italian Opera-houses from singing at concerts, the town is inundated with a set of continental mediocrities. (Morning Chronicle (1801), Monday, 7 June 1847)

Madame de Fontaine gave a concert on Saturday afternoon in Harley-street, which was genteelly attended, and she sang several morceaux with great taste. Songs and duets were successfully sung by Mesdames Hennelle, Lozano, Miss Eliza Birch, MM. Brandt, Marcelini, Montelli and John Parry; the latter, when encored in "Lalla Rookh " gave his new song, "The rival Houses," which told capitally. Solos on the harp, violin, violoncello, and pianoforte were brilliantly played by Madame D'Eichthal, MM. Bezeth, Rousselot and Lindsay Sloper, who, with M. Benedict, accompanied the various pieces. (Morning Post, Monday, 7 June 1847)

Madame Mortier de Fontaine.-This vocalist gave Matinee Musicale Saturday, aided by Madame de Madame Hennelle, Miss E. Birch, Signori Marcolini, Montelli, Herr Brandt, Mr. John Parry, Mr. Lindsay Sloper, the pianist; M. Bezeth, the violinist; Madame D'Eichthal, the harpiste ; M. Rousselot, violoncellist; and Benedict,, conductor. (Illustrated London News, Saturday, 12 June 1847)

CONCERTS. MADAME MORTIER DE FONTAINE's.- The matinée musicale of this artist, took place on the 6th inst, at the Beethoven Rooms. The attendance was fashionable. We have frequently had occasion to speak of Madame Mortier de Fontaine as an intelligent singer, with an agreeable mezzo soprano voice and a sensible, unaffected style. On the present occasion she sang Mozart's "Non Piu di fiori," a cavatina from Donizetti's Anna Bolena, "Ah parea che perincanto," and the popular barcarole of Schubert, all equally well, though in such totally different styles. Among the other vocal pieces worthy note were a Canzonetta Neapolitana, by the charming Madame Hennelle ; an air from Beatrice di Tenda, by Miss Eliza Birch ; a cavatina from Rossini's L'Italiana, by Madame de Lozano ; a romanza from Beatrice di Tenda, by Signor Montelli (of whom our readers will remember our favourable opinion lately recorded) ; a duet from Donizetti's L'Elisir d'Amore, by Mad. Hennelle and Signor Montelli ; and John Parry's "Lalla Rookh," which being encored, was replaced by the "Rival Houses." The Programme was enriched by some instrumental music of interest. Mr. Lindsay Sloper played Stephen Heller's fantastic and delicious Tarantella * on the pianoforte, in masterly style; Mons. Bezeth gave the Andante and Rondo Russe of De Beriot for the violin, and showed himself an artist of high distinction, both as to style and mechanism ; M. Rousselot in a violoncello solo evinced the qualities we have so frequently admired in him ; and the pianist, violinist, and violoncellist together, charmed the audience by a very excellent performance of the Andante and Scherzo from Mendelssohn's first trio, in D minor (why not have given the whole ? ) which auspiciously began the concert. The conductors were Messrs. Benedict and Lindsay Sloper. * Published by Wessel and Co. (The Musical world, Saturday, 26 June 1847)

Thursday, 17 June 1847 : M. And Madame Sheppanoski's Matinée Musicale at the Residence of Mrs. Scott.

M. and Madame Sheppanoski's Concert. - These fashionables gave a Matinée Musicale at the residence of Mr. Scott, when M. Sheppanoski played several pieces on the violoncello and on the guitar, and his Lady displayed her powers as a pianiste. The beneficiaires were assisted by Madame G. A. Macfarren, Madame de Lozani, Madame de Fontaine, Signori Marconili, Minhelli and Herr Brandt, as vocalists, and by Herr Mulhenfeld and Mr. Lindsay Sloper, as conductors. The audience was select and fashionable, and the performance gave general satisfaction. (Morning Post, Saturday, 19 June 1847)

M. AND MAD. SHEPANOSKI.-The matinée musicale of these excellent artistes took place, under the patronage of the Duchess of Sutherland, on Thursday the 17th ult., at the residence of Mrs. Scott. Mad. Shepanoski is a pianist of taste and facility, which she advantageously developed in Thalberg's Deux ails Russes, Leopold do Meyer's Carnaval de Venise, Vincent Wallace's Le Réve, Liszt's Hungarian Melodies, and a duo concertante by Aguilar and Shepanoski, for piano and violoncello, which she performed in conjunction with her caro sposo, M. Shepanoski, one of the composers, whose proficiency on the violoncello is the more remarkable, since it is only within a very short period that he began to practise this instrument. Of Shepanoski's guitar playing. however, there can be only one opinion. His Grand Fantasia, dedicated to Lord Leveson Gower, and his Strauss's Waltzes, and Duo Comique, in which he gave imitations of the voices of a young girl and an old woman agreeably evinced his powers of execution and lively fancy. M. Shepanoski also distinguished himself by his clever performance of a fantasia caprice on the violoncello, a graceful composition of his own. The vocalists at this matinée wore Mad. Lozano, Mortier de Fontaine. Mad. G. A. Macfarren, Signor Marcolini, Mecatti, and Herr Brandt. The only novelty was a canzonet by Macfarren, "Als ich von dir geliebte," a charming composition, and charmingly rendered by Mad. Macfarren. The conductors were Mr. Mühlenfeldt and Mr. Lindsay Sloper. (The Musical world, Saturday, 3 July 1847)

Wednesday, 23 June 1847 : Miss Dolby and Mr. Lindsay Sloper's Morning Concert at Hanover-Square Rooms.

MISS DOLBY and Mr. LINDSAY SLOPER have the honour to announce that their MORNING CONCERT will take place at the Hanover-square Rooms, on WEDNESDAY, June 23, to commence at Two o'clock precisely. Tickets, 7s. each, may be had of all the principal Musicsellers ; of Miss Dolby, 61, Berners-street, Oxford-street ; and Mr. Lindsay Sloper, 7, Southwick-place, Hyde Park-square. Reserved Seats, 10s. 6d. each, to be had only of Miss Dolby and Mr. Lindsay Sloper. (Morning Post, Saturday, 12 June 1847) (Also: Illustrated London News, Saturday, 19 June 1847; Examiner, Saturday, 19 June 1847; Daily News, Thursday, 17 June 1847; Morning Post, Tuesday, 15 June 1847; Morning Chronicle (1801), Monday, 14 June 1847; Morning Chronicle (1801), Saturday, 12 June 1847; Examiner, Saturday, 19 June 1847.)

MISS DOLBY and Mr. LINDSAY SLOPER have the honour to announce that their MORNING CONCERT will take place at the Hanover-square Rooms on WEDNESDAY, June the 23d, to commence at Two o'clock precisely. Tickets 7s. each; may be obtained at all the principal music shops, of Miss Dolby, 61, Berners-street, Oxford-street; and of Mr. L. Sloper, 7, Southwick-place, Hyde Park-square. Reserved Seats 10s. 6d. each, to be had only of Miss Dolby and Mr. Lindsay Sloper. (John Bull, Saturday, 12 June 1847) (Also: The Times, Tuesday, 15 June 1847; John Bull, Saturday, 12 June 1847; John Bull, Saturday, 12 June 1847; The Times, Saturday, 12 June 1847.)

QUEEN'S CONCERT ROOMS, HANOVER SQUARE. Miss DOLBY & MR. LINDSAY SLOPER Have the honor to announce that their MORNING CONCERT Will take place at the above Rooms, On WEDNESDAY, JUNE 23rd, 1847. To Commence at Two o'clock precisely. Tickets 7s. each, may be had of all the principal Music-sellers, of Miss Dolby, 61, Berner's Street, Oxford Street, and of Mr. Lindsay Sloper, 7 Southwick Place, Hyde Park Square. Reserved Seats Half a Guinea each, to be had only of Miss Dolby and of Mr. Lindsay Sloper. (The Musical world, Saturday, 12 June 1847) (Also: The Musical world, Saturday, 19 June 1847.)

MISS DOLBY and MR. LINDSAY SLOPER have the honor to announce that their MORNING CONCERT will take place at the HANOVER-SQUARE ROOMS, on WEDNESDAY, June the 23rd, to commence at Two o'clock precisely, Tickets, 7s. each, to obtained of all the principal Musicsellers; of Miss Dolby, 61, Berners street, Oxford-street; and of Mr. L. Sloper, 7, Southwick-plate, Hyde Park-square. Reserved Seats, 10s. 6d. each, to be had only of Miss Dolby and Mr. Lindsay Sloper. (The Athenaeum, Saturday, 12 June 1847)

Amongst the concerts advertised for next week, that to be given by Miss Dolby and Mr. Lindsay Sloper, on Wednesday, is deserving of especial attention. The programme includes some orchestral works by the best composers, and of the vocal portion something better than a mass of sickly airs so commonly in vogue, will be given. Miss Dolby's faculty is too well known to require a word at our hands; and Mr. Sloper intends giving a new specimen of his talent in composition, in a duet for two pianofortes, written expressly for the occasion. (John Bull, Saturday, 19 June 1847) (Also: John Bull, Saturday, 19 June 1847.)

MISS DOLBY and Mr. LINDSAY SLOPER have the honour to announce that their MORNING CONCERT will take place at the Hanover-square Rooms, on WEDNESDAY, June 23, to commence at Two o'clock precisely. Vocalists: Madame Dorus Gras, Misses Rainfort, Vira, Pyne, Madame Macfarren, and Miss Dolby; Messrs. Brizzi, Ciabatta, H. Phillips, and John Parry. Violin: Messrs. Hellmesberger, Pianoforte: Mr. Linday Sloper, Mr. W. Sterndale Bennett will conduct his overture to the Naiades. The orchestra will be complete in every department. Leader: Mr. Willy, Conductors: Messrs. Benedict and Kuhe. Tickets, 7s. each, may be had of all the principal Musicsellers ; of Miss Dolby, 61, Berners-street, Oxford-street ; and Mr. Lindsay Sloper, 7, Southwick-place, Hyde Park-square. Reserved Seats, 10s. 6d. each, to be had only of Miss Dolby and Mr. Lindsay Sloper. (Illustrated London News, Saturday, 19 June 1847) (Also: Morning Chronicle (1801), Monday, 21 June 1847; Morning Chronicle (1801), Tuesday, 22 June 1847; Morning Post, Tuesday, 22 June 1847; Morning Chronicle (1801), Wednesday, 23 June 1847.)

On Wednesday, Miss Dolby and Mr. Lindsay Sloper give a Morning Concert, and Mr. and Madame Oury a Matinée Musicale. (Illustrated London News, Saturday, 19 June 1847)

MISS DOLBY and MR. LINDSAY SLOPER have the honour to announce that their MORNING CONCERT will take place at the HANOVER-SQUARE ROOMS, on WEDNESDAY, June the 23rd, to commence at Two o'clock precisely. Vocalists-Madame Dorus-Gras, Misses Rainforth, Vera, Pyne, Madame Macfarren, and Miss Dolby; Messrs. Brizzi, Ciabatta. H. Phillips, and John Parry. Violin, Messrs. Hellmesberger; Pianoforte, Mr. Lindsay Sloper. Mr. W. Sterndale, Bennett, will conduct his Overture to the "Naides.' The Orchestra will be complete in every department. Leader, Mr. Willy: Conductors, Messrs. Benedict and Kühe. Tickets, 7s. each, may be had of all the principal Musicsellers; of Miss Dolby, 61. Berners-street, Oxford-street, and of Mr. L. Sloper, 7, Southwick. place, Hyde Park-square: Reserved Seats, 10s. 6d. each, to be had only of Miss Dolby and Mr. Lindsay Sloper. (The Athenaeum, Saturday, 19 June 1847)

NOTES FOR THE WEEK. - On Wednesday, the morning concert of Messrs. Dalby and Mr. Lindsay Sloper, and the matinée musicale of M. and Mme. Oury. (Morning Chronicle (1801), Monday, 21 June 1847)

The Catch Club.- His Royal Highness the Duke of Cambridge has signified his intention to honour the Catch Club with his presence on Friday next, when the last meeting of the season will take place, on which occasion ladies will dine with the club, which has been in existence for 85 years. Miss Dolby and Mr. Lindsay Sloper intend to have a full band at their concert on Wednesday morning. Mr. Benedict and Mr. Sloper will perform a MS. duet, two piano-fortes, composed by the latter ; and the brothers, Hellmesberger will perform a concertante violin duet, and they will depart for Hamburgh that evening. There will be a host of vocal talent on the occasion, and Mr. Sterndale Bennett will direct his Naiades overture. Music of the Week. - This morning a rehearsal of the seventh concert of ancient music. The last Philharmonic concert in the evening, also Mr. Wilson's Scottish entertainment. Wednesday morning, Miss Dolby and Mr. Lindsay Sloper's concert, at the Hanover-square Rooms ; the Seventh Ancient Concert in the evening. Thursday morning, Mdlle. di Mendi's concert ; Mr. F. Chatterton's evening concert at Sadler's Wells. Friday evening, Mr. Green's concert, also the last meeting of the Catch Club. Operas at her Majesty's Theatre on Tuesday, Thursday, and Saturday. (Morning Post, Monday, 21 June 1847)

EXETER HALL. - On Monday night the Creation was performed by the Sacred Harmonic Society for the benefit of the distressed Scotch. The principal vocalists were Madlle. Caradori Allen, Miss Birch, Staudigl, Pischek, and Lockey. The oratorio was admirably performed, and gave great satisfaction to a crowded audience, amongst whom were the Grand Duke Constantine, the Duke of Newcastle, &c. It is expected that nearly, 1,000l. will be realised by the performance. Her Majesty patronized the entertainment, but was unable to attend, being at the christening of the Duke of Wellington's grandson. Amongst the concerts advertised for next week, that to be given by Miss Dolby and Mr. Lindsay Sloper, on Wednesday, is deserving of especial attention. The programme includes some orchestral works by the best composers, and of the vocal portion something better than a mass of sickly airs so commonly in vogue, will be given. Miss Dolby's faculty is too well known to require a word at our hands; and Mr. Sloper intends giving a new specimen of his talent in composition, in a duet for two pianofortes, written expressly for the occasion. (John Bull, Monday, 21 June 1847)

MISS DOLBY and Mr. LINDSAY SLOPER have the honour to announce that their MORNING CONCERT will take place at the Hanover-square Rooms, TO-MORROW (WEDNESDAY), June 23, to commence at 2 precisely. Vocalists: Madame Dorus Gras, Misses Rainfort, Vira, Pyne, Madame Macfarren, and Miss Dolby; Messrs. Brizzi, Ciabatta, H. Phillips, and John Parry. Violin: Messrs. Hellmesberger, Pianoforte: Mr. Lindsay Sloper, Mr. W. Sterndale Bennett will conduct his overture to the Naiades. The orchestra will be complete in every department. Leader: Mr. Willy, Conductors: Messrs. Benedict and Kuhe. Tickets, 7s. each, may be had of all the principal Musicsellers; of Miss Dolby, 61, Berners-street, Oxford-street ; and Mr. L. Sloper, 7, Southwick-place, Hyde Park-square. Reserved Seats, 10s. 6d. each, to be had only of Miss Dolby and Mr. Lindsay Sloper. (Daily News, Tuesday, 22 June 1847)

MISS DOLBY and Mr. LINDSAY SLOPER'S CONCERT at the Hanover-square Rooms, THIS MORNING will commence at Two o'clock precisely. Tickets, 7s. each, may be had of all the principal Musicsellers ; of Miss Dolby, 61, Berners-street, Oxford-street ; and Mr. Lindsay Sloper, 7, Southwick-place, Hyde Park-square. Reserved Seats, 10s. 6d. each, to be had only of Miss Dolby and Mr. Lindsay Sloper. (Morning Post, Wednesday, 23 June 1847)

Miss DOLBY AND MR. LINDSAY SLOPER'S MORNING CONCERT.-The Hanover-square-rooms were yesterday filled with a crowded and fashionable auditory. Miss Dolby is one of our most popular vocalists. Her progress has been watched with interest by the admirers of her beautiful voice, and no artiste has proved the advantage of study and perseverance in a greater degree than this much respected singer. She sang the "Resta, o cara" of Mozart, and with Madlle. Vera, Rossini's duo, "Devisi noi," from Bianca e Faliero, besides ballads by Messrs. T. Linley and G. E. Hay, her exertions being attended with their accustomed success. Mr. Lindsay Sloper ranks amongst the best of our native pianists, whose executive powers are infinitely superior to the great majority of continental importations with which our musical season is inundated. He executed Mendelssohn's Rondo in B minor admirably, and with Benedict a duet for two pianofortes of his own composition. The brothers Hellmesberger appeared for the last time in this country (as they leave town this day for Vienna), in a concertino for two violins, by Fuchs. John Parry was encored in "Lalla Rookh," when he gave "Foreign Affairs." Mr. Willy's band played overtures, and assisted in the orchestral accompaniments. Madame Dorus Gras, Miss Rainforth, the Misses Pyne, Signori Ciabatta, Brizzi, and Mr. H. Phillips were the other vocalists; Benedict and Lindsay Sloper officiating as conductors. (Morning Chronicle (1801), Thursday, 24 June 1847)

MISS DOLBY AND MR. LINDSAY SLOPER.- These artists gave a morning concert, in conjunction, yesterday at the Hanover-square Rooms, which, both as regards the numerous and fashionable attendance and the excellence of the programme, was one of the best of the season. Miss Dolby has long maintained her position as one of the most accomplished of our native vocalists, and Mr. Lindsay Sloper is acknowledged as a pianist and composer of first-rate ability. Educated in the Royal Academy of Music, Miss Dolby has, in spite of the attractions of popular applause, remained faithful to the taste for classical music which once exclusively obtained in that institution. It was, therefore, a matter of no surprise that, associated as she was with so conscientious a musician as Mr. Lindsay Sloper, a full orchestra formed a material feature in her concert, contrary to the practice that prevails now-a-days of confining the accompaniments to a simple pianoforte. Mr. Willy's select band (the orchestra for the occasion) performed two overtures - that to Coriolanus, the most profound of Beethoven (conducted by A. Benedict), and the Naiads of Sterndale Bennett conducted by the composer. Moreover the band was of still further use in several of the songs and instrumental pieces. Miss Dolby was in excellent voice. Her execution of the celebrated air from Semiramide, "Ah, quel giorno," was a perfect specimen of florid vocalization, rendered still more agreeable by the grace and ease with which the ornaments and fioriture were accomplished. Still better was the exquisite "Resta, O Cara," one of the finest of Mozart's cantatas. Two English ballads, of ordinary merit, were less worthy of Miss Dolby's attention, though she invested them with an interest, by her manner of singing, which was wholly independent of their own pretensions. Mr. Sloper, in the rondo of Mendelssohn in B minor, displayed his abilities as a pianist to great advantage. His execution was wonderfully neat and finished, and his style impassioned and energetic. Perhaps, on the whole, Mr. Sloper took the tempo of this rondo somewhat faster than Mendelssohn intended, but the ease with which he sustained this unusual speed to the end was a remarkable exemplification of his mastery over the pianoforte. A new duet for two pianofortes, composed by Mr. Sloper expressly for the occasion, was very finely played by himself and Mr. Benedict. It is a work of depth and elaboration, which requires more than one hearing to be appreciated; many beauties were, however, at once apparent, and the general effect was exceedingly brilliant. Mr. Sloper's last performance was La Chasse, a characteristic study by Stephen Heller, one of the most original and excellent composers for the piano of the present epoch. The extraordinary difficulties of this study were vanquished by the young pianist without the slightest apparent effort, and the general style of its execution was masterly and effective. The vocalists who assisted the concert-givers were the Misses Rainforth, Pyne, L. Pyne, and Vera; Madame Dorus Gras, Madame G. A. Macfarren, Signors Brizzi and Ciabatta, Messrs. H. Phillips and John Parry. The instrumentalists were the brothers Helmesberger, who played a concertino for two violins with their usual ability. The concert gave entire satisfaction. Among the audience was Mademoiselle Jenny Lind. (The Times, Thursday, 24 June 1847)

MISS DOLBY AND MR. LINDSAY SLOPER'S CONCERT. Miss Dolby is a vocalist whom it has been so often our pleasant task to praise, that we have now made up our mind, with every possible respect for the talents of the rest of the sisterhood, to consider her as the very first on the list of English lady singers ; and the great popularity she so deservedly enjoys with the public fully proves the generality of the estimation in which we hold her. Mr. Lindsay Sloper has not been so long before the London musical cognoscenti, and is therefore less known as an artist. The opportunities he has had, however, of displaying his abilities, have been sufficient to establish for him among the best and the severest judges a very high reputation as a pianist, which reputation is improved upon each occasion of his appearing in public. The combination of the talents of two such professors as these could not fail to form a great attraction, and accordingly the Hanover-square Rooms were, at their Concert yesterday morning, literally crowded, as a comment upon which we may truly say we were much gratified to see such real merit so justly appreciated and so worthily encouraged. The concert was one most creditable to the classical taste of the beneficiaires. It opened with Beethoven's overture to Coriolanus, a composition we have always esteemed its author's masterpiece, and one for which we have in vain looked in the programmes of the Philharmonic Society for this many a season ; the last time we heard it, some five years since, under the direction of Mendelssohn, it was most enthusiastically encored, but notwithstanding this success, the directors appear to think it preferable even to play another overture of Beethoven's twice in one season than to present this great work again to their subscribers. Its revival, for such we must regard it, on this occasion was highly interesting. Mr. H. Phillips sang the scena from Ossian, which Mendelssohn composed for him, with his usual success. Miss Dolby, in order to prove the versatility of her powers, sang three times in three decidedly different styles of music - Mozart's grand scena, "Resta, O cara ;" Rossini's florid aria, "Ah, quel giorno ;" and two ballads of Hay and F. Linley. She succeeded best in the classical song, for this school of music, although her execution is very articulate, is far better suited to her than that of the modern Italian opera, and her choice of ballads- a style of singing in which she usually makes such great effect- was very unfortunate. She sang the aria of Mozart, however, as she has often sung it before, and as she has been often in the warmest language of praise eulogised for her performance. Mr. Sloper played Mendelssohn's andante and rondo brilliante, with orchestral accompaniments, in B minor ; a new duet of his own for two pianofortes, with M. Benedict; and a characteristic study of Heller. There is no player who has more finished execution, a more delicate touch, or a more refined style than Mr. Sloper, and he displayed all these qualities to the greatest advantage yesterday. If he have a want, it is only the want of power to give full effect to concerted music in a large room; but his occasional weakness is in a great measure made up by his true musicianly feeling, and really beautiful finish ; still, although we and all the audience were much delighted with him on the present occasion, it is but justice to his former efforts to say that we think his playing better calculated for the chamber than the large concert room. His own duet is a very clever composition. It consists but of one movement, an allegro of great vigour and brilliancy in E minor, written in the form of the great classical models, and containing many highly effective passages. We hope to have many opportunities of hearing Mr. Sloper's duet, for it is evidently a composition that will improve upon acquaintance, as it belongs not to that superficial school, the entire merit of which can be appreciated on a first hearing. The author must have been highly gratified by the excellent manner in which M. Benedict supported his part of the performance ; this gentleman's talents as a pianist are too well known to need now a comment. Mr. John Parry sang his last new comical history, "Lalla Rookh," and was accordingly encored, upon which we have but one remark to offer, namely, that it served him right. The Misses Pyne, who are very greatly improved, sang the brilliant and always-successful duet finale, from the Crusaders of M. Benedict. Madame Dorus Gras sang her air from Le Serment, and some extremely pleasing couplets of Panoffker with her wonted effect. The Herren Hellmesberger took their leave for the present season in a concertante for two violins, of Fuello, a composer rising in reputation in Vienna, which, however, possessed less than little merit. We congratulate these highly-talented young artists on the termination of a visit to England which has been eminently successful, and we announce with sincere pleasure their intention to revisit our metropolis next season, a circumstance which cannot but interest all amateurs of the legitimate school of violin playing. Mr. W. S. Bennett conducted his charming overture, "The Naiades," which was played with much neatness and spirit. Signori Brizzi and Ciabatta sang an effective Italian duetto. An extremely clever quartetto of Gabussi, "La Revolta del Seraglio," was admirably sung by Madame Dorus Gras, Misses Vera, Pyne, and Dolby. Madame Macfarren sang Mozart's beautiful aria, " Per pieta non ricercate," certainly not so well as we have sometimes heard her, but still so well as to be deemed excellent, had we not her own previous performances with which to compare the present. M. Benedict conducted most ably, and Mr. Kuhe accompanied on the pianoforte. (Morning Post, Friday, 25 June 1847)

Miss Dolby and Mr. Lindsay Sloper.-These artists gave a morning concert, in conjunction, yesterday at the Hanover-square Rooms, which, both as regards the numerous and fashionable attendance and the excellence of the programme, was one of the best of the season. Miss Dolby has long maintained her position as one of the most accomplished of our native vocalists, and Mr. Lindsay Sloper is acknowledged as a pianist and composer of first-rate ability. Educated in the Royal Academy of Music, Miss Dolby has, in spite of the attractions of popular applause, remained faithful to the taste for classical music which once exclusively obtained in that institution. It was, therefore, a matter of no surprise that, associated as she was with so conscientious a musician as Mr. Lindsay Sloper, a full orchestra formed a material feature in her concert, contrary to the practice that prevails now-a-days of confining the accompaniments to a simple pianoforte. Mr. Willy's select band (the orchestra for the occasion) performed two overtures-that to Coriolanus, the most profound of Beethoven (conducted by M. Benedict), and the Naiads of Sterndale Bennett, conducted by the composer. Moreover the band was of still further use in several of the songs and instrumental pieces. Miss Dolby was in excellent voice. Her execution of the celebrated air from Semiramide, " Ah quel giorno," was a perfect specimen of florid vocalisation, rendered still more agreeable by the grace and ease with which the ornaments and fioriture were accomplished. Still better was the exquisite " Resta, O Cara," one of the finest of Mozart's cantatas. Two English ballads, of ordinary merit, were less worthy of Miss Dolby's attention, though she invested them with an interest, by her manner of singing, which was wholly independent of their own pretensions. Mr. Sloper, in the rondo of Mendelssohn in B minor, displayed his abilities as a pianist to great advantage. His execution was wonderfully neat and finished, and his style impassioned and energetic. (Salisbury and Winchester Journal, Saturday, 26 June 1847) (Also: Salisbury and Winchester Journal, Saturday, 26 June 1847.)

MISS DOLBY AND MR. LINDSAY SLOPER'S CONCERT.-This concert, which took place on Wednesday morning in the Hanover-square Rooms, was one of the best of the season. It had, in particular, a feature, which should always be noticed with approbation; there was an excellent orchestra, so that the principal vocal and instrumental pieces had full orchestral accompaniments instead of the feeble tinkling of a pianoforte. It is superfluous to speak in praise of such a great and established favourite of the public as Miss Dolby; favour which she owes not only to her professional talents, but to her modest demeanour and amiable character. Mr. Lindsay Sloper has only recently become known to the public; but, young as he is, he has already gained the reputation of being one of the most distinguished pianists, and composers for his instrument, of the day. Miss Dolby sang some of the finest airs of the great modern masters, and evinced her good English taste by singing, with exquisite simplicity, Linley's beautiful old ballad, " Primroses deck the bank's green side." Mr. Sloper played Mendelssohn's Rondo in B minor; a duet composed by himself, and performed on two pianofortes by himself and Benedict; and one of Stephen Heller's characteristic studies. Both the beneficiares were most cordially received by a very crowded audience. Madame Dorus Gras, Miss Rainforth, Mdlle. Vera, Mr. Phillips, the Misses Pyne, Signor Ciabatta, and other eminent performers, contributed to produce a very interesting concert. (John Bull, Saturday, 26 June 1847) (Also: John Bull, Saturday, 26 June 1847.)

Miss Dolby and Mr. Lindsay Sloper.-The fair vocalist and the clever pianist gave a Morning Concert, on Wednesday, at the Hanover-square Rooms, which were crowded to excess. Miss Dolby had a most flattering reception. She sang ballads by T. Linley and G. E. Huy, Rossini's aria, ! quel gloria," and Mozart's " Pesta o cora," with her usual success. Mr. Sloper played a brilliant rondo, in B minor, by Mendelssohn; one of Heller's studies; and with Benedict, new pianoforte duo for two pianofortes, admirably. John Parry was encored in "Lalla Rookh," when he gave Foreign Affairs." The other vocalists were Mdme. Dorus Gras, Mdlle. Vera, Miss Rainforth, Mr. H. Phillips (who sang Mendelssohn's scena "On Lena's gloomy heath" finely), the Misses Pyne, Signor Bruzzi, Ciabatta, &c. The brothers Joseph and George Hellmesberger appeared, for the last time this season, in a concertina, by Fuchs, for two violins. Benedict and Lindsay Sloper were the conductors, and Mr. Willy's orchestra played overtures. (Illustrated London News, Saturday, 26 June 1847)

Miss Dolby and Mr. Lindsay Sloper's Concert. - The Hanover-square Rooms on filled with a crowded audience… and Miss Dolby's progress has been watched with … admirers of her beautiful voice, and artuti hi. the advantage of study and perseverence in art… than this much respected singer… Mr. Sloper ranks among the best of our native pianistes… Mendelssohns rondo in [?] minor admirable … Benedict duet for two pianofortes of his … The brothers Hellmesberger appeared for the first time in this country in a concertino for two violins. Mr. John Parry was encored Lallah Rookh, When, he gave Foreign Affairs…. (Bell's Weekly Messenger, Saturday, 26 June 1847)

We must dwell emphatically, however briefly, on the excellent benefit entertainment given by Miss Dolby and Mr. Lindsay Sloper. We have too recently spoken of the progress made by the lady to be called on once again to commend the same at length; but, not before having heard Mr. Sloper with full orchestra, we must not pass over his excellent and masterly playing by memory of Mendelsohn's concerto rondo in B minor. Mr. Sloper's execution is neat and easy. More body of tone might perhaps be added; but the key-splitters have subdued us into such a desire for the tender and graceful and delicate that we almost hesitate to hint this objection. - Mr. Phillips sang the now Ossian scena by Mendelssohn. - Madame Dorus Gras, the Misses Pyne and Mdlle Vera, were provided with fitting occupation; and Bennett's overture to 'The Naiades' was played very nicely by Mr. Willy's concert-band, - which is beginning to tell in more ways than one. (The Athenaeum, Saturday, 26 June 1847)

MISS DOLBY AND MR. LINDSAY SLOPER'S CONCERT, - This concert, which took place on Wednesday morning in the Hanover-square Rooms, was one of the best of the season. It had, in particular, a feature, which should always be noticed with approbation; there was an excellent orchestra, so that the principal vocal and instrumental pieces had full orchestral accompaniments instead of the feeble tinkling of a pianoforte. It is superfluous to speak in praise of such a great and established favourite of the public as Miss Dolby; favour which she owes not only to her professional talents, but to her modest demeanour and amiable character. Mr. Lindsay Sloper has only recently become known to the public; but, young as he is, he has already gained the reputation of being one of the most distinguished pianists, and composers for his instrument, of the day. Miss Dolby sang some of the finest airs of the great modern masters, and evinced her good English taste by singing, with exquisite simplicity, Linley's beautiful old ballad, "Primroses deck the bank's green side." Mr. Sloper played Mendelssohn's Rondo in E minor; a duet composed by himself, and performed on two pianofortes by himself and Benedict; and one of Stephen Heller's characteristic studies. Both the beneficiares were most cordially received by a very crowded audience. Madame Dorus Gras, Miss Rainforth, Mdlle. Vera, Mr. Phillips, the Misses Pyne, Signor Ciabatta, and other eminent performers, contributed to produce a very interesting concert. (John Bull, Monday, 28 June 1847)

We have very sincere gratification in announcing that Miss Dolby's concert last week was crowdedly attended; and this was a tribute most deservedly paid to our first English female singer. The concert was given conjointly with Mr. Lindsay Sloper, a very talented pianist. The programme was extremely rich on this occasion, at the Hanover-square Rooms, so much so that we find it difficult to select samples of excellence. We must not omit, however, to notice with high eulogium the fair beneficiaire's Mozart's grand scena, "Resta, O cara," and Rossini's aria "Ah quel giorno." The quartetto of Gabussi, "La Reve ta del Seraglio," was also admirably sung by Madame Dorus Gras, Miss Dolby, Misses Vera, and Pyne. (The Lady's Newspaper & Pictorial Times, Saturday, 3 July 1847)

les soirées données par la société philharmonique dans Hanover-Rooms, les concerts de Miss Dolby, de Lindsay Sloper, de Mlle Meudi T… et enfin en province, les deux grands festivals de Liverpool et de Manchester où Alboni et Tagliafico ont fait les honneurs avec le plus grand succès; (Le Ménestrel, Sunday, 4 July 1847)

CONCERTS. MISS DOLBY AND MR. LINDSAY SLOPER.- It is not necessary to tell the readers of the Musical World who is Miss Dolby, or who Mr. Lindsay Sloper, or to remind them of the high position they both hold in their profession, and in the esteem of the public. The concert given by them in conjunction, on Wednesday evening, the 23rd ult., in the Hanover Square Rooms, was one of the best of the whole season. The programme was highly interesting and varied with judgment. Mr. Willy's efficient little concert band attended, and performed Beethoven's overture to Coriolanus, and Sterndale Bennett's overture to the Naiads; the former under the conduct of Mr. Benedict, the latter under that of the composer. After tendering our acknowledgments to Miss Dolby and Mr. Lindsay Sloper for their good taste and artist-like spirit in supplying their friends with an orchestra (a fashion, by the way, which appears, happily, to be coming into vogue again, if we may judge by the present season), we must express the pleasure we experienced at hearing the overture to Coriolanus, which, though one of the masterpieces of Beethoven, is rarely heard in public, and is treated with marked neglect by the Philharmonic Society, notwithstanding the encore it received at its last performance, five years ago, under the direction of Mendelssohn. But let us hasten to speak of the performances of the excellent concert-givers. Miss Dolby first sang Mozart's lovely recitative and air, "Resta O Cara." Of this beautiful composition, and of the exquisite style in which Miss Dolby renders it, we have so often spoken, that it is enough to say she sang it as well as ever, and thereby thoroughly delighted every true amateur and musician in the room. Her next essay was the florid cavatina from Semiramide, " Ah quel giorno," which Miss Dolby vocalised in a style of perfection that would have charmed Grisi herself, and evidently much pleased Mdlle. Jenny Lind. who was in the room, and applauded our clever English nightingale" as heartily as any one of the audience. Miss Dolby last demonstrated her talent in a couple of ballads, "Forget thee," by G. E. Hay, and "Primroses deck the banks," by T. Linley, both of which she rendered with infinite-taste and feeling. The former is an elegant specimen of the sentimental school, which now obtains among our English ballad-makers, so different from the "Chevy-Chace," " Nut-browne Maydes," and "Gawaine-and-Golograses," that delighted our fathers. The second is a favourable specimen of the elder Linley's style. Mr. Lindsay Sloper performed thrice. His first essay was in Mendelssohn's rondo brillante in B minor, one of the early works of that great master and at the same time one of his most beautiful. This was the first opportunity we have had of bearing the admirable young pianist in conjunction with an orchestra. It is one thing to play solos and another thing to play concertos. For our own parts, in opposition to existing prejudices, we hold the latter to be by far the most difficult and by far the most honourable. It was, therefore, with double pleasure that we listened to Mr. Sloper on this occasion. The masterly ease with which he played proved him to possess, beyond a question, that experience without which a pianist may be a very good pianist but still only a pianist and not a musician. Mr. Sloper's reading of Mendelssohn's rondo was quite in the spirit of the author, and the great rapidity with which he took the time of the allegro was justified by the unerring precision with which he executed it. It was altogether a very finished and musician-like performance, Mr. Willy and his orchestra contributing their share of the general effect. Mr. Sloper's next performance was, in company with Mr. Benedict, a duet for two pianofortes, composed expressly for this occasion. The duet is a work of too much thought and elaboration to be critically dismissed after a single hearing. We shall, therefore, merely say that we listened to it with that attention which was due to the merits and reputation of its young and rising composer, and were enabled to discern clearness of design, beautiful and well contrasted themes, and careful and consistent elaboration ; moreover, as a display for the qualifications of two first-rate pianists it is highly effective and brilliant, and this was strikingly demonstrated by Mr. Benedict and Mr. Sloper, who played it in the most finished and admirable style. Stephen Heller's characteristic study, La Chasse, was the last piece executed by Mr. Sloper. This short sketch is as difficult as it is beautiful. Mr. Sloper took it at an immensely rapid pace, but sustained it to the end with unflagging power. We must dismiss the rest of the concert in a few lines. The other instrumental performances consisted of a concertino for two violins, composed by Füchs, a Viennese professor, and performed with prodigious neatness and brilliancy by the clever brothers, Joseph and George Hellmesberger; and the Wedding March, from Mendelssohn's A Midsummer Night's Dream, rendered with great spirit by Mr. Willy's orchestra. The vocal music offered a large variety of popular and classical morceaux, the former claiming the preponderance. Mr. H. Phillips gave his scena, (MS.) "On Lena's gloomy heath," which Mendelssohn composed expressly for him, and which he originally introduced at the first Philharmonic concert of the present season; and Miss Rainforth contributed an exceedingly pretty ballad from Tully's opera of The Forest Maiden (recently produced with great success at the Surrey Theatre ; Madame Dorus Gras treated us to her air, "Des l'enfance," from Auber's Le Serment, Panofka's charming romanza and mazurka, "Il mal di paese d'una Polacca," and Clemenceau's romance, "La bouquetiere du roi." The Misses Pyne gave the duet "The ties of friendship," from Benedict's Crusaders; Miss L. Pyne displayed her great progress as a florid vocalist in the aria, "O luce di quest anima," (Linda di Chamouni); Mdlle. Vera and Miss Dolby sang the duet, "Divisi noi,' from Rossini's Bianca e Faliero ; Signors Brizzi and Ciabatta contributed the duet, "Parlar spiegar," from the same composer's Mosé in Egitto, and Signor Ciabatta sang the barcarole of Tadolini, "Se la vita;" Madame Dorus Gras, Mdlle. Vera, Miss Pyne, and Miss Dolby, interpreted a sparkling and pretty quartet of Gabussi, La rivolta del seraglio ;" Madame Macfarren again delighted us with the beautiful air from Mozart's Il curioso indiscreto, which she has so opportunely rescued from oblivion ; and lastly, John Parry introduced his "Lalla Rookh," which being encored he replaced by another of the joint facetiae of himself and the prolific Albert Smith. Mr. Willy was, of course, the leader of his own band. and Messrs. Benedict, Sloper, and Kühe officiated as accompanists at the piano. Mr. John Parry, however, be it understood, accompanied himself - we should like to know who could accompany him - and Miss Dolby followed his example in her two ballads. The room was crammed to overflowing, and the programme afforded unanimous satisfaction. We have little doubt that Miss Dolby and Mr. Lindsay Sloper divided a good $300, net profit, between them - an event which, in the present dearth of public encouragement, is an indisputable proof of their high and deserving popularity. (The Musical world, Saturday, 10 July 1847)

… in the air "La Calumnia," from the "Barbiere." John Parry received encores … in his London Season … and "Lalla Rookh." Mr. Lindsay Sloper was the accompanyist. He played two pianoforte pieces, by Benedict, with great brilliancy. [Abridged] (Illustrated London News, Saturday, 31 July 1847)

Monday, 12 July 1847 : S. Rousselot's Grand Musical Performance at Beethoven Rooms, 76 Harley-St.

GRAND MUSICAL PERFORMANCE. Beethoven Rooms, 76 Harley-street, Cavendish-square - S.ROUSSELOT most respectfully informs his friends, patrons, and the public that he intends giving a GRAND MUSICAL PERFORMANCE on Monday evening, July 12, at Eight o'clock, when will be performed his Septuor for Pianoforte, Violin, Violoncello, Contra Basso, Oboe, Horn, and Bassoon; also the Quintetts in A (Mendelssohn), in G minor (Mozart), in C (Beethoven). Artistes Messrs. Joachim, Sainton, Hill, W. Thomas, S. Rousselot, Casolani, Burret, Baumann, Jarrett, and Mr. Lindsay Sloper.- Single tickets 10s. 6d., and family tickets to admit three, one guinea each, may be had at Messrs. Cramer and Benie's, 201, Regent-street; also at Mr. Jullien's, 214, Regent-street. (Morning Chronicle (1801), Saturday, 3 July 1847) (Also: The Times, Friday, 9 July 1847.)

The eight and last meeting of the Beethoven Quartet Society took place on Monday, the executants being Joachim, Sainton, Hill, and Rousselot. We are glad to learn that performance will be given in the Beethoven Rooms, in Harley-street, for the benefit of M. Rousselot, who has so ably managed the affairs of the Society this season. It will take place on the 12th instant, and Joachim, Sainton, Hill, W. Thomas, Casolani, Barret, Baumann, Jarrett, and Lindsay Sloper, will assist. (Illustrated London News, Saturday, 3 July 1847)

M. ROUSSELOT'S CONCERT AT THE BEETHOVEN ROOMS.- M. Rousselot, the director of the Beethoven Society, who has so ably and zealously exerted himself this season to maintain its deserved fame, gave last night a selection of classical music, as a kind of bonne bouche, at the end of the musical series of nights with Beethoven. The programme opened, in the presence of a very elegant assemblage. the attendance of fair amateurs being very remarkable, as well as of celebrated professors, with Beethoven's quintet in E flat, op 4, Joachim and Sainton taking the first and second violins, Hill and W. Thomas the tenors, and Rousselot the violoncello. The allegro and andante are of the Mozartian school, but in the scherzo may be traced the initiative of the fantastic forms which the composer carried to such an extent in his later works. It was finely performed by the executants we have named. A septuor in E flat major, by M. Rousselot, followed. This clever violoncellist has contributed many excellent works to the stores of chamber music, and this composition must place him in a very high rank. It opens with a charming subject in a movement allegro moderato, which is most ingeniously treated. The septuor is written for the pianoforte, violin, violoncello, contra basso, oboe, bassoon, and horn, and was assigned to the following players :-Messrs. Lindsay Sloper, Sainton, Rousselot, Casolani, Barrett, Baumann, and Jarrett. It is scarcely requisite to state that it could not have been in better hands, the effect of the ensemble being admirable. The scherzo, in C minor, was full of brilliant passages, the andante, in A flat major, was exquisitely scored, and the finale replete with grand and imposing ideas, distributed amongst the instruments with infinite tact. Slow passages for the pianoforte contrasted with vigorous phrases from the basses, whilst the wind instruments came in ever and anon with delicious bits of cantabile. The septuor was loudly applauded by the connoisseurs. Mozart's quintet in C minor, led by Joachim, and Beethoven's quintet in C major, led by Sainton, were the pieces in the second act, Hill and W. Thomas taking the tenor parts, and Rousselot the violoncello. It is proposed to give Spohr a matinée before his departure. (Morning Chronicle (1801), Tuesday, 13 July 1847)

Beethoven Rooms. - A concert of classical chamber music was given at these rooms, last night, by M. Rousselot, by way of supplement to the performances of the Beethoven quartet party. The programme was executed by the same artists- namely, by Joachim, Sainton, Hill, Thomas, and Rousselot - Beethoven's quintet in E flat, op. 4, Mozart's quintet in G-minor, and Beethoven's quintet in C major, constituting the list of pieces, all of which were given with the most satisfying finish. The feature of the evening, however, which principally calls for notice, was a septuor in E flat by Mr. Rousselot, for the pianoforte, violin, violoncello, double bass, oboe, bassoon, and horn. This composition, which exhibited the writer's powers of invention, and his cleverness in combining the several instruments, and in furnishing them with graceful passages of imitation, awakened much interest among the amateurs who were present, and the applause which awaited its conclusion was considerable. It had the advantage of the ablest development from the hands of Lindsay Sloper, Sainton, Casolani, Barrett, Baumaun, Jarrett, and the composer himself. (The Standard, Tuesday, 13 July 1847)

M. Rousselot.-The Concert at the Beethoven Rooms, given by this accomplished violoncellist and composer, on Monday night, was fashionably attended. His Septuor in E Flat Major, for piano (Mr. Lindsay Sloper), violin (Sainton), violoncello (the composer), contra-basso (Casolani), oboe (Barret), bassoon (Baumann), and horn (Jarrett), was admirably executed, and was much applauded. The critic of the Chronicle thus describes the Septuor: "It opens with a charming subject in a movement allegro moderato, which is most ingeniously treated. The Scherzo in C Minor was full of brilliant passages; the Andante in A Flat Major was exquisitely scored, and the finale replete with grand and imposing ideas, distributed amongst the instruments with infinite tact. Florid passages for the pianoforte contrasted with vigorous phrases from the basses, whilst the wind instruments came in ever and anon with delicious bits of cantabile." (Illustrated London News, Saturday, 17 July 1847)

Wednesday, 14 July 1847 : "Musical World"'s Grand Morning Concert at Her Majesty's Concert Room, Hanover-Square.

HER MAJESTY'S CONCERT ROOM. HANOVER-SQUARE. THE MUSICAL WORLD - GRAND MORNING CONCERT, on WEDNESDAY, July 14 at Two o'clock.- Vocalists - Mesdames Dolby, Macfarren, Williams, Mr. Lockey and Mr. H. Phillips. Instrumentalists- Pianoforte: Mr. Sterndale Bennett and Mr. Lindsay Sloper; Violins: Herr Joachim and M. Sainton; Viola, Mr. Hill; Violoncelli, M. Rousselot and Signor Piatti; Harp, M. Godefroid. Conductors M Benedict and Herr Luders. Programme- Part I. Quartette, MM. Joachim, Sainton, Hill, and Rousselot (of the Beethoven Quartet Society) -Spohr; Duet, the Misses Williams- H. Smart; Song Mr. H. Phillips- Mendelssohn; Etudes, Harp, M. Godefroid- Godefroid; Aria, Miss Dolby- Mozart; Sonata. Mr. Sterndale Bennett and Herr Joachim- Beethoven; Conductor, Mr Benedict. Part II. Trio, MM. Lindsay Sloper, Sainton, and Piatti-Macfarren ; Song, Madame Macfarren- Spohr ; Song, Miss Dolby - Mendelssohn -Song Mr. Lockey, "Elijah"- Mendelssohn ; Trio, Miss A. and M. Williams and Miss Dolby, "Elijah"-Mendelssohn ; Solo, Violin, Herr Joachim- Bach ; Conductor, Herr Luders. Subscribers who have paid their subscriptions up to Christmas, 1841, are entitled to a free ticket, which may be had from the Publisher of the " Musical World," Nassau Steam Press, 60 St Martins-lane, Charing-cross. Tickets, 7s.; Reserved Seats, 10s. 6d. May be had; and of the principal Music Publishers. (Morning Chronicle (1801), Saturday, 10 July 1847) (Also: Morning Post, Tuesday, 13 July 1847; The Times, Monday, 12 July 1847; Morning Post, Monday, 12 July 1847; Daily News, Saturday, 10 July 1847.)

OUR CONCERT. WE subjoin a sketch of the Programme of the second annual concert which we have the pleasure to give to our subscribers. The full particulars will be announced in the bills of the day, and previously in the morning papers. PART 1 QUARTET - MM. Joachim, Sainton, Hill, and Rousselot, (of the Beethoven Quartet Society,) Spohr. DUET - The Misses Williams, H. Smart. SONG - Mr. H. Phillips, Mendelssohn. ETUDES - Harp, M. Godefroid, Godefroid. ARIA - Miss Dolby, Mozart. SONATA - Mr. Sterndale Bennett and Herr Joachim, Beethoven Conductor, Mr. Benedict. PART 11. TRIO - MM. Lindsay Sloper, Sainton, and Piatti, Macfarren SONG -- Madame Macfarren, Spohr. SONG - Miss Dolby, Mendelssohn. SONG - Mr. Lockey (Elijah), Mendelssohn. TRIO - Miss A. and M. Williams, Miss Dolby, (Elijah), Mendelssohn. SOLO - Violin, Herr Joachim, Bach. Conductor Herr Luders. Subscribers who have paid their Subscriptions up to Christmas, 1847 are entitled to a Free Ticket which may be had of the Publisher of the Musical World, "Nassau Steam Press" 60, St. Martin's Lane, Charing Cross. In the above programme we have aimed at the Latin maxim, multum in parvo, and we trust that its excellence will make up for its brevity. (The Musical world, Saturday, 10 July 1847)

HER MAJESTY'S CONCERT ROOM. HANOVER-SQUARE. THE MUSICAL WORLD - GRAND MORNING CONCERT, TOMORROW MORNING, July 14 at Two o'clock.- Vocalists - Mesdames Dolby, Macfarren, Williams, Mr. Lockey and Mr. H. Phillips. Instrumentalists- Pianoforte: Mr. Sterndale Bennett and Mr. Lindsay Sloper; Violins: Herr Joachim and M. Sainton; Viola, Mr. Hill; Violoncelli, M. Rousselot and Signor Piatti; Harp, M. Godefroid. Conductors M Benedict and Herr Luders. Programme- Part I. Quartette, MM. Joachim, Sainton, Hill, and Rousselot (of the Beethoven Quartet Society) -Spohr; Duet, the Misses Williams- H. Smart; Song Mr. H. Phillips- Mendelssohn; Etudes, Harp, M. Godefroid- Godefroid; Aria, Miss Dolby- Mozart; Sonata. Mr. Sterndale Bennett and Herr Joachim- Beethoven; Conductor, Mr Benedict. Part II. Trio, MM. Lindsay Sloper, Sainton, and Piatti-Macfarren ; Song, Madame Macfarren- Spohr ; Song, Miss Dolby - Mendelssohn -Song Mr. Lockey, "Elijah"- Mendelssohn ; Trio, Miss A. and M. Williams and Miss Dolby, "Elijah"-Mendelssohn ; Solo, Violin, Herr Joachim- Bach ; Conductor, Herr Luders. Subscribers who have paid their subscriptions up to Christmas, 1841, are entitled to a free ticket, which may be had from the Publisher of the " Musical World," Nassau Steam Press, 60 St Martins-lane, Charing-cross. Tickets, 7s.; Reserved Seats, 10s. 6d. May be had; and of the principal Music Publishers. (Daily News, Tuesday, 13 July 1847)

HER MAJESTY'S CONCERT ROOM. HANOVER-SQUARE. THE MUSICAL WORLD - GRAND MORNING CONCERT, TO-DAY (Wednesday), July 14 at Two o'clock.- Vocalists - Mesdames Dolby, Macfarren, Williams, Mr. Lockey and Mr. H. Phillips. Instrumentalists- Pianoforte: Mr. Sterndale Bennett and Mr. Lindsay Sloper; Violins: Herr Joachim and M. Sainton; Viola, Mr. Hill; Violoncelli, M. Rousselot and Signor Piatti; Harp, M. Godefroid. Conductors M Benedict and Herr Luders. Programme- Part I. Quartette, MM. Joachim, Sainton, Hill, and Rousselot (of the Beethoven Quartet Society) -Spohr; Duet, the Misses Williams- H. Smart; Song Mr. H. Phillips- Mendelssohn; Etudes, Harp, M. Godefroid- Godefroid; Aria, Miss Dolby- Mozart; Sonata. Mr. Sterndale Bennett and Herr Joachim- Beethoven; Conductor, Mr Benedict. Part II. Trio, MM. Lindsay Sloper, Sainton, and Piatti-Macfarren ; Song, Madame Macfarren- Spohr ; Song, Miss Dolby - Mendelssohn -Song Mr. Lockey, "Elijah"- Mendelssohn ; Trio, Miss A. and M. Williams and Miss Dolby, "Elijah"-Mendelssohn ; Solo, Violin, Herr Joachim- Bach ; Conductor, Herr Luders. Subscribers who have paid their subscriptions up to Christmas, 1841, are entitled to a free ticket, which may be had from the Publisher of the " Musical World," Nassau Steam Press, 60 St Martins-lane, Charing-cross. Tickets, 7s.; Reserved Seats, 10s. 6d. May be had; and of the principal Music Publishers. (Morning Chronicle (1801), Wednesday, 14 July 1847)

THE MUSICAL WORLD CONCERT.-The Musical World, following the example of the two leading Parisian musical journals, La Gazette Musicale and La France Musicale, gives an annual concert, to which its subscribers have the privilege of a gratuitous admission, while the public generally are admitted on the usual terms. The "Musical World Concert" of this season was given yesterday morning in the Hanover-square Rooms. It was very well attended, and a great number of the musical "notabilities" of the season were present, either among the performers or among the audience. Among the latter we observed the illustrious and venerable Spohr, who sat in a front row before the orchestra, and listened with great apparent pleasure to the whole performances - not excepting, of course, that of a quartet of his own, for two violins, viola, and violoncello, which, after all, was no quartet at all, but a mere violin solo with accompaniments, exhibiting the brilliancy of Sainton's execution, and the artist-like self-denial of such men as Joachim, Hill, and Rousselot. A quartet ought to be a conversation; but this one was like the after-dinner talk of some squire, expatiating on his horses, dogs, and game-preserves, to two or three toadies, who swallow his talk and his wine with equal complacency, Chiming in occasionally with " Ah, very good indeed! Ha! ha ! ha! You don't say so !" - and so forth. It was not in this way that Haydn, Mozart, and Beethoven, carried on the conversation of a quartet; nor has Spohr himself always done so; and we think the Musical World paid him a poor compliment as by treating him - with one of the most frivolous of his own compositions. This quartet began the first part of the concert. The trio by Macfarren, for the pianoforte, violin, and violoncello, played by Lindsay Sloper, Sainton, and Piatti, which commenced the second part, was an entertainment of a much higher order. It is a beautiful work, equally remarkable for sweet melody, vigour, originality, and richness of combination - a work which ought to stand side by side with the trios of Beethoven and Hummel in the library of every amateur. M. Godefroid performed some of his own studies for the harp, with the beauty and finish for which he is distinguished. Beethoven's famous sonata in C minor, for the pianoforte and violin, was played by Sterndale Bennett in a manner that could not be surpassed. The adagio (which the composer afterwards used as a tenor song, in his music to Goethe's " Egmont ") was expressed with exquisite feeling. Among the vocal pieces we were especially pleased with a duet by Mr. Henry Smart, "Summer is coming," sung by the Misses Williams; a charming composition, which ought to find its way into every drawing-room where it can be sung by two young ladies who have sweet voices and a cultivated taste. On the whole we have to thank the proprietors of the Musical World for a very interesting concert. (Daily News, Thursday, 15 July 1847)

HANOVER SQUARE ROOMS. Yesterday the proprietors of the Musical World gave their annual concert at these rooms to crowded and performance was loudly applauded. The most starched critic can scarcely deny the rapid and manifest improvement… and fashionable audience. The entertainment was conducted by Mr. Benedict and Herr Luders. It opened with a quartet from Spohr, in B minor-two violins, tenor, and violoncello, by MM. Joachim, Sainton, Hill, and Rousselot, which was given in excellent style. The Misses Williams gave the duet, "Summer is coming" in their usual effective style. Mr. H. Phillips and Mr. Lockey sang from Mendelssohn, the one, Oh, Lord, have mercy," (St. Paul), and the other, The Garland." Mr. F. Godefroid gave his Etudes on the harp, "Melancholy," "the Dream," and " the Andalusian Serenade." This gentleman's performance is brilliant and artistic, exhibiting great taste united with great mechanical command of the instrument. Miss Dolby gave the aria, " Quando miro quel bel ciglio," followed by a sonata in C minor-pianoforte and violin-by Sterndale Bennett and Herr Joachim. There was also performed a trio in E - pianoforte, violin, and violoncello-by Messrs. Lindsay Sloper, Sainton, and Piatti. Madame Macfarren sung "Kleine Blumer, kleine Blatter," the composition of Joachim. It was much applauded The whole performance went off with great eclat, and gave general satisfaction. This concert had the merit of being three hours in duration, and the company had the good taste to discourage encores, which would have been a severe infliction on the performers in weather so intensely hot as it was yesterday. (Morning Advertiser, Thursday, 15 July 1847)

THE MUSICAL WORLD CONCERT. OUR Annual Concert came off on Wednesday morning in the Hanover Square Rooms, which were brilliantly attended on the occasion. The following was the programme, in full, of which, last week, we printed an outline PART I. QUARTET - in B minor - two violins, tenor, and violoncello - MM. Sainton, Joachim, Hill, and Rousselot, (of the Beethoven Quartet Society, Spohr. DUET - "Summer is coming," The Misses Williams, H. Smart. SONG - "Oh Lord have mercy," (St. Paul) Mr. H. Phillips, Mendelssohn. ETUDES - " No. 1 "Melancholy," No. 2, "The Dream;" No. 3, "The Andalusian Serenade," Harp - M. Godefroid, Godefroid. ARIA - "Quando miro quel bel ciglio," Miss Dolby, Mozart SONATA - in C minor - pianoforte and violin - Mr. Sterndale Bennett and Herr Joachim, Beethoven. Conductor, M Benedict. PART II. TRIO - in E, pianoforte, violin, and violoncello - MM. Lindsay Sloper, Sainton, and Piatti, Macfarren. LIED (MS.) - "Kleine Blumer, kleine Blatter," (written in Mr. Macfarren's Album, Madame Macfarren, Joachim.* SONG - "Rippling Waters," Miss Dolby, Spohr. SONG - "The Garland," Mr. Lockey, Mendelssohn + TRIO - (unaccompanied) "Lift thine eyes," (Elijah) Misses A. and M. Williams, Miss Dolby, Mendelssohn. CHACONNE (pianoforte accompaniment by Felix Mendelssohn Bartholdy -Violin, Herr Joachim; Pianoforte, Herr Luders, J. Sebastian Bach. Conductor Herr Luders. Our position prevents us from criticising the performance ; but we are, nevertheless, justified in recording that the programme gave entire satisfaction to our subscribers and the public, and that the eminent artists, vocal and instrumental, employed in its interpretation, exerted themselves with a zeal for which we are bound to express our warmest sentiments of gratitude. While refraining from details that would, to say the least, be indiscreet on our part, we are not prevented from quoting the friendly notices with which we have been favoured by some of the great morning papers ; and these we re-print with the greater pleasure since they serve as an evidence of the favourable feeling that exists in favour of our humble efforts as the representatives of British musicians and upholders of the art in its universality. We shall begin with the Morning Herald, to which admirable journal we are already so deeply indebted. "THE MUSICAL WORLD CONCERT.- In imitation of a plan which prevails with the French papers devoted to criticism on music, a concert was given at the Hanover Square Rooms yesterday morning by the proprietors of the Musical World - a periodical that for some twelve or fourteen years past has been established in London, and is the only special journal of record and inquiry, in connection with the art to which it refers, that has taken a respectable position, or been looked upon with deference as an authority. Its management at the present time betokens energy and vigilance ; and if its advocacy of the cause of the English artist may sometimes appear to wear an air of prejudice, it is well that there is an organ for the vindication of native genius, where it can be analysed, weighed, and estimated in a spirit of scholarship and intelligence. We believe this periodical circulates very largely, and as a register of events belonging to music and the drama, coupled with enthusiastic disquisitions upon the æsthetical influence of either art, there is nothing published, prolific as the press has lately been in prints dedicated to such subjects, so complete and informing. The experiment of giving a concert to the patrons of the work began last year; and the brilliant attendance which awaited that of yesterday - although happening at a waning period of the season, and during hours of consuming sultriness - indicates that the subscribers may reckon upon the entertainment annually. The selection of music was of a very superior kind, such as a stickler for the rights of exalted genius would be likely to select, with the intrusion of nothing flimsy. insipid, or common-place. Let us print the scheme to justify our commendation. as well as to exhibit a pattern of judicious choice worthy of remembrance by future concert-givers. (Here follows Programme.) Spohr's quartet was executed by Joachim, Sainton, Hill, and Rousselot, with the delicacy and finished ensemble peculiar to the four artistes of the Beethoven quartet party. The music itself is not the most attractive of Spohr's compositions in this branch of writing, but it nevertheless contains many felicities of thought and combination which the faultless execution it received made rightfully apparent. Godefroid's harp études were played by the composer, and conveyed the passionate gloominess of "melancholy," and the vague restlessness of a "dream" - two of the descriptive texts - with surprising expression and poetical feeling, strangely at variance with the ungracious genius of the instrument. The third movement "the Andalusian Serenade," familiar to the ears of the opera frequenter as the subject of one of Fanny Elssler's Spanish dances, was of less musical value, but fortunate for exhibitory purposes. Beethoven's sonata, with which the first part concluded, was superbly delivered by Sterndale Bennett and Joachim, the pianoforte playing of the former being tested under the most eligible circumstances, whether as to the reading of good matter or the display of mechanical attainment. Macfarren's trio for the pianoforte, violin, and violoncello, had also the best of executancy from the hands of Lindsay Sloper, Sainton, and Piatti - artistes who did proper credit to music entitled to take the highest rank in the walk of composition to which it belongs, being imaginative, symmetrical, and ably constructed. The quaint chaconne which brought the concert to a close, was vigorously performed by Joachim in spite of the obstructions of heat - so fatal to the comfort and success of the violin player. The pianoforte accompaniment to this, supplied for the use of Joachim by Mendelssohn, was undertaken by Herr Luders. The vocal pieces were full of similar interest, which, let us parenthetically remark, was not weakened by liberal a supply. Henry Smart's clever duet was a wise choice on the part of the Misses Williams, who sang it with musician-like method and consequently with good effect. The bass song from Paul is one of those strains of pious supplication which Mr. H. Phillips invariably delivers with solemnity and impressiveness; and to report Miss Dolby's credit for her execution of such music as Mozart's Quando miro" is merely to repeat a thrice-told tale. Little Joachim's MS. Song - a bagatelle of early genius - found a sufficient exponent in Mad. Macfarren. Spohr's lovely ballad, one of those delicious effusions of pathetic despondency which immediately challenges and finds the warmest sympathy, was given by Miss Dolby, and instinctively encored; a similar consequence necessarily following the unaccompanied trio from Elijah, which was charmingly rendered by the same vocalist and the Misses Williams. The song which preceded this, although it was nicely executed by Mr. Lockey, was hardly so acceptable a specimen as Mendelssohn's chamber vocalities as might have been chosen. Dr. Spohr was among the visitors during greater part of the concert." Our next quotation is from the friendly Daily News, whose classical columns have, more than once, lent us a valuable helping hand. "THE MUSICAL WORLD CONCERT.-The Musical World, following the example of the two leading Parisian musical journals, La Gazette Musicale and La France Musicale, gives an annual concert, to which its subscribers have the privilege of a gratuitous admission, while the public generally are admitted on the usual terms. The "Musical World Concert" of this season was given yesterday morning in the Hanover-square Rooms. It was very well attended, and a great number of the musical "notabilities" of the season were present, either among the performers or among the audience. Among the latter we observed the illustrious and venerable Spohr, who sat in a front row before the orchestra, and listened with great apparent pleasure to the whole performances - not excepting, of course, that of a quartet of his own, for two violins, viola, and violoncello, which, after all, was no quartet at all, but a mere violin solo with accompaniments, exhibiting the brilliancy of Sainton's execution, and the artist-like self-denial of such men as Joachim, Hill, and Rousselot. A quartet ought to be a conversation; but this one was like the after-dinner talk of some squire, expatiating on his horses, dogs, and game-preserves, to two or three toadies, who swallow his talk and his wine with equal complacency, Chiming in occasionally with " Ah, very good indeed! Ha! ha ! ha! You don't say so !" - and so forth. It was not in this way that Haydn, Mozart, and Beethoven, carried on the conversation of a quartet; nor has Spohr himself always done so; and we think the Musical World paid him a poor compliment as by treating him - with one of the most frivolous of his own compositions. This quartet began the first part of the concert. The trio by Macfarren, for the pianoforte, violin, and violoncello, played by Lindsay Sloper, Sainton, and Piatti, which commenced the second part, was an entertainment of a much higher order. It is a beautiful work, equally remarkable for sweet melody, vigour, originality, and richness of combination - a work which ought to stand side by side with the trios of Beethoven and Hummel in the library of every amateur. M. Godefroid performed some of his own studies for the harp, with the beauty and finish for which he is distinguished. Beethoven's famous sonata in C minor, for the pianoforte and violin, was played by Sterndale Bennett in a manner that could not be surpassed. The adagio (which the composer afterwards used as a tenor song, in his music to Goethe's " Egmont ") was expressed with exquisite feeling. Among the vocal pieces we were especially pleased with a duet by Mr. Henry Smart, "Summer is coming," sung by the Misses Williams; a charming composition, which ought to find its way into every drawing-room where it can be sung by two young ladies who have sweet voices and a cultivated taste. On the whole we have to thank the proprietors of the Musical World for a very interesting concert." The next is from the Morning Advertiser, which journal has recently turned its attention to music in such a manner as is likely to benefit both itself and its readers. MUSICAL WORLD CONCERT.- " Yesterday the proprietors of the Musical World gave their annual concert at these rooms to a crowded and fashionable audience. The entertainment was conducted by Mr. Benedict and Herr Luders. It opened with a quartet from Spohr, in B minor - two violins, tenor, and violoncello, by MM. Joachim, Sainton, Hill, and Rousselot, which was given in excellent style. The Misses Williams gave the duet, "Summer is coming," in their usual effective style. Mr. H. Phillips and Mr. Lockey sang from Mendelssohn, the one, "Oh, Lord, have mercy," (St. Paul) and the other, "The Garland." Mr. P. Godefroid gave his Etudes on the harp, "Melancholy," "the Dream," and "the Andalusian Serenade." This gentleman's performance is brilliant and artistic, exhibiting great taste, united with mechanical command of the instrument. Miss Dolby gave the aria, Quando miro quel bel ciglio," followed by a sonata in C minor - pianoforte and violin - by Mr. Sterndale Bennett and Herr Joachim. There was also performed a trio in E - pianoforte, violin, and violoncello - by Messrs. Lindsay Sloper, Sainton, and Piatti. Madame Macfarren sung "Kleine Blumer, kleine blatter," the composition of Joachim. It was much applauded. The whole performance went off with great éclat, and gave general satisfaction. This concert had the merit of being three hours in duration, and the company had the good taste to discourage encores, which would have been a severe infliction on the performers in weather so intensely hot as it was yesterday." Last, but not least, let us quote the following from the pages of The Times:- "THE MUSICAL WORLD CONCERT This annual entertainment attracted an overflowing audience, yesterday afternoon, to the Hanover Square Rooms. The programme was entirely composed of such music as obtains the name of classical. The following is a transcript :- (Here follows Programme.) The quartet which was performed in compliment to the celebrated composer, Dr. Spohr, who honoured the concert with his presence, was executed in a style worthy the reputation of the accomplished members of the Beethoven Quartet Society. The first violin part is of immense difficulty, and gave M. Sainton an opportunity of displaying to great advantage his fine mechanism and vigorous style. Henry Smart's duet, an elegant and musician-like composition, was very charmingly rendered by the clever Misses Williams. Of the romantic Etudes' of M. Godefroid we have spoken more than once. They were beautifully interpreted on this occasion by the composer, and made a strong impression upon the audience. Miss Dolby's "Quando miro" was quite Mozartean, and the "Lord have mercy" of Mr. Phillips realised entirely the devotional feeling which inspired Mendelssohn with one of his most exquisite compositions. The C minor, perhaps the grandest and certainly the most difficult of Beethoven's splendid suite of sonatas for the piano and violin. was executed in masterly style by Mr. Sterndale Bennett and Herr Joachim. The andante in A flat, was the perfection of feeling, and the allegro, scherzo, and finale were delivered with wonderful energy and animation. Mr. Macfarren's new trio is short and strikingly original; there is only one long movement - an allegro con fuoco in E minor, of gloomy and passionate character, preceded by a short romance, in the major, a flowing and well developed melody. The principal working of the themes is confined to the violin and violoncello, the pianoforte sustaining almost throughout a series of brilliant and elaborate arpeggios, which are made, with musicianly skill, to accommodate themselves to the progressions of harmony and modulation involved in the violin and violoncello parts. It was easy to guess that this trio proceeded from one habituated to use the orchestra. rather than the pianoforte. as an exponent of his musical ideas. Joachim's lied is a lovely bagatelle, the offspring of a graceful and cultivated mind; it was sung with refined intelligence by Madame Macfarren. Among all the minor compositions with which the fertile mind of Spohr has enriched the repertory of the voice there is not a more expressive and beautiful specimen than the "Rippling Waters," known in the German as Der Bleicherinn Nacht-lied (The Bleacher's Night Song"). This quaint and melancholy inspiration is precisely suited to Miss Dolby's quiet style of singing; the effect it produced upon the audience was manifested in a general demand for its repetition. Mr. Lockey sang Mendelssohn's graceful ballad, "The Garland," with an unaffected simplicity of expression thoroughly suited to its character. The delicious trio from Elijah was encored with acclamations; it was perfectly rendered, and the absence of accompaniment induced an agreeable contrast with the rest of the concert. Bach's Chaconne is one of the most extraordinary productions of that great master, and the pianoforte accompaniment, added by Mendelssohn, is entirely in accordance with the spirit of the original, and scarcely inferior to it as a work of art and inspiration. The difficulties of modern writers for the violin shrink into insignificance before those exhibited in Bach's Chaconne, which demands a mastery of double and triple stopping rarely to be met with. In Joseph Joachim. however, this requisite, and indeed every other, both of mechanism and expression, is found in singular perfection, and the recondite works of Bach are as familiar to him as the less elaborate achievements of the present day. His playing wag marvellous, and created the utmost enthusiasm. The pianoforte accompaniment was capitally rendered by Herr Luders, who shared the post of conductor with the accomplished Benedict. Dr. Spohr remained to the end of the concert, and was frequent and liberal in his applause. The usual brevity of the programme was not the least of its recommendations. Let us supply one omission of The Times. The trio of Macfarren was played by Mr. Lindsay Sloper, in conjunction with M. Sainton and Signor Piatti, in such a masterly manner as not only satisfied but delighted the composer. It is only justice to these excellent artistes to mention this fact so honourable to their exertions. It may further be interesting to our readers to know that this trio is published at Leipsic, together with other works of Macfarren; and also by Wessel and Co., in London. One word must convey the deep sense we entertain of the honour conferred on us by the presence, throughout the entire performance, of the renowned musician, Dr. Louis Spohr. * Encored + Encored (The Musical world, Saturday, 17 July 1847)

THE MUSICAL WORLD CONCERT. WE have to thank our excellent cotemporary, Douglas Jerrold's Weekly Newspaper, for the following friendly notice of our concert "MUSICAL WORLD CONCERT.- On Wednesday morning the proprietors the Musical World gave their annual concert to the subscribers to the Journal and the public generally, at the Hanover-square Rooms. The bold and fearless talent with which the Musical World is conducted, has long rendered it the organ of musical professors and musical amateurs, and we were therefore pleased to find the attendance at the concert both large and fashionable. The concert itself was most excellent. Spohr's quartet in B minor wag delightfully played by Sainton, Joachim, Hill, and Rousselot. The trio, by Macfarren, for pianoforte, violin, and violoncello, was performed as such a beautiful work deserved, by Lindsay Sloper, Sainton, and Piatti, This trio is a composition of first-rate merit, and must become known to all who are able to appreciate its high claims. Beethoven's sonata in C minor, for pianoforte and violin, was most artistically given, by Sterndale Bennett and Joachim. M. Godefroid performed his studies for the harp with a degree of mingled fire and delicacy, seemingly incompatible with the structure of the instrument. The Misses Williams sang very charmingly a charming duet, by Henry Smart, 'Summer is coming.' We commend this duet to the especial attention of all young ladies who are in the habit of appealing to the musical sympathies of their friends in this sisterly form of composition. A little song by Joachim, 'Kleine blumer,' was sung by Madame Macfarren, and much applauded. Altogether the Musical World concert was one of the pleasantest of the season. It was not overdone in length, and though the thermometer stood at something above ninety, there was no sign in the audience of musical weariness. In the second number of a new weekly journal, called The London Mercury, a writer whose mind is evidently well stored with the technicalities of musical phraseology, has favored us with the handsome critique below:- "THE MUSICAL WORLD CONCERT.--On Wednesday morning our musical cotemporary, the Orpheus of the press, gave a concert at the Hanover-square Rooms, which wag brilliantly attended, Dr. Spohr and Sir George Smart being among the company. Although a mixed entertainment, it was more essentially instrumental, and the programme could not but have been attractive to the lovers of science. Miss Dolby particularly distinguished herself. She sang with much expression Mozart's 'Quando miro quel bel ciglio,' and, had not the oppressiveness of the atmosphere partially stifled the enthusiasm of her audience, would have been encored. Spohr's 'Rippling waters' was also entrusted to her, and the brilliancy of her execution elicited much applause. A quartet in B minor, by Spohr, was performed by the violinists, MM. Joachim. Sainton, Hill, and Rousselot, with much feeling, extracting from their instruments tones like those of the human voice. The Misses Williams, who do nothing indifferently, sang a duet 'Summer is coming,' very sweetly ; but the song was unworthy of their acknowledged ability, being deficient in melody. At the close, they literally warbled an exquisite trillo, in which the high compass of their voices was most advantageously heard. Mendelssohn's solemn and imposing anthem, 'O, Lord, have mercy,' was effectively sung by Mr. Phillips. Beethoven's sonata in B minor (one of the finest compositions of that author,) for the violin, was performed on the pianoforte by Mr. Sterndale Bennett and Herr Joachim in a very superior manner. Joachim, who is quite a youth, played with great brilliancy, but was deficient in power. rather attributable, however, to a want of la physique than to any absence of genius. He promises to mature into a first-class violinist. M. Godefroid performed on the harp several etudes of his own composition. His instrumentation was admirable, especially in the "Dream" and the "Serenade," to each of which he gave a distinctive character. In the latter piece he opened with accords, forte, and after a series of brilliant movements, felicitously continued the accords in the piano note, until they imperceptibly died away. Madame Macfarren and Mr. Lockey contributed to the entertainment some pleasant vocal additions, and the concert was ably conducted by Mr. Benedict and Herr Luders. To these we have to add a liberal notice from our staunch supporter, the musical critic of the Athenæum, which; with comments of our own, will form the subject of next week's leader. (The Musical world, Saturday, 24 July 1847) (Also: The Musical world, Saturday, 24 July 1847.)

Wednesday, 21 July 1847 : Morning Concert in Aid of St. Mary'S Hospital at Hanover-Square Rooms.

MORNING CONCERT IN AID OF ST. MARY'S HOSPITAL-This entertainment (under royal patronage) was given yesterday at the Hanover-square Rooms, conducted by Mr. Benedict. The management of the Royal Italian Opera had given permission for the distinguished artists to sing on this occasion, so that an attractive programme was provided. Mdlle. Alboni was rapturously encored in the scena from Donizetti's Betly, "In questo semplice," which has excited such a sensation at Covent-garden. Grisi was warmly applauded in Mercadante's air, " Ah rammento." Mario sang Alari's "Canzone Toscana." The other artists were Mdlle. Corbari, Madame Ronconi, Madame Tagliafico, Signori Tamburini, Tagliafico, Ronconi, Marras, Herr Joachim, the violinist, and Lindsay Sloper, pianist. (Morning Chronicle (1801), Thursday, 22 July 1847)

… A morning concert (under royal patronage) was given at the Hanover-square Rooms on Tuesday, in aid of St. Mary's Hospital. The management of the Royal Italian Opera bad given permission for the distinguished artists to sing on this occasion, so that an attractive programme was provided. Mdlle. Alboni was rapturously encored in the scena from Donizetti's Betly, "In questo semplice," which has excited such a sensation at Covent-garden. Grisi was warmly applauded in Mercadante's air, "Ah ! rammento." Mario sang Atari's Canzone "Toscana." The other artists were Mdlle. Corbari, Madame Ronconi, Madame Tagliafico, Signori Tamburini, Tagliafico, Ronconi, Marras, Herr Joachim, the violinist, and Lindsay Sloper, pianist. (Critic, 1844-1847, Saturday, 24 July 1847)

- A morning concert (under royal patronage) was given at the Hanover-square Rooms on Tuesday, in aid of St. Mary's Hospital. The management of the Royal Italian Opera had given permission for the distinguished artists to sing on this occasion, so that an attractive programme was provided. Mdlle. Alboni was rapturously encored in the scena from Donizetti's Betly, "In questo semplice," which has excited such a sensation at Covent-garden. Grisi was warmly applauded in Mercadante's air, "Ah ! rammento." Mario sang Alari's Canzone "Toscana." The other artists were Mdlle. Corbari, Madame Ronconi, Madame Tagliafico, Signori Tamburini, Tagliafico, Ronconi, Marras, Herr Joachim, the violinist, and Lindsay Sloper, pianist. (The Critic, Saturday, 24 July 1847)

CONCERTS. ST. MARY'S HOSPITAL.- A grand morning concert took place at the Hanover-square Rooms, on Wednesday week, in aid of the fund of the above institution, which, we are sorry to say, was not very cordially attended. That the public are not worn out by the Irish and Scotch charities was proved by the company that assembled on occasion of the concert given for the Italian Gratuitous School, by the same amount of talent, when the Hanover-square Rooms crammed to suffocation. We can only account for the comparative thinness of the Rooms on Wednesday by supposing that the principal opera frequenters had left town, or that the concert had not been sufficiently advertised. That the entertainment of Wednesday did not attract a large audience will be a matter of no small surprise, when we state that the principal force of the Royal Italian Opera assisted. To Mr. Beale, who granted permission to the artistes to lend their invaluable aid, our heartiest thanks are due and no less to the great artistes themselves, who, without a moment's hesitation, gratuitously proffered to sing ; the thanks of the public are also due to the other eminent performers, vocal and instrumental, who bestowed their unfeed assistance on this occasion. The concert opened with the "Papataci," trio sung by Signor Marras, Ronconi, and Tagliafico. The latter gentleman then gave an aria from Ricci's opera, La Priggione d'Edinburgo, with fine effect, which was followed by the duetto, "Quando Amore," from Elisir d'Amore, splendidly sung by Signor and Madame Ronconi. The concert being very long we must necessarily omit mention of many morceaux. Among the performances that call for the most favorable notice we may instance a duet for two pianofortes very finely played by Messrs. Benedict and Lindsay Sloper ; an aria from Linda di Chamouni by Mdlle. Corbari, Ronconi's "Largo al factotum;" Herr Joachim's performance on the violin of Ernst's variations on the march from Otello - a wonderful display of execution ; Madame Ronconi's "Voi che Sapete," from the Nozze di Figaro, beautifully given ; the celebrated trio from Guilliame Tell by Marras, Tagliafico and Tamburini ; Grisi's aria from the Leonora of Mercadante, exquisitely sung ; Tamburini's "Non Piu Andrai," immense ; Alboni's scena from Betly, rapturously and deservedly encored ; and the popular duet from Semiramide, "Serbami ognor," rendered by Grisi and Alboni, as no two other artistes in the world could render it. This splendid concert concluded with the grand Preghiera from the Mosé in Egitto. (The Musical world, Saturday, 31 July 1847)

Friday, 23 July 1847 : Morning Concert at Northampton.

CONCERT AT NORTHAMPTON.- At the morning concert to be given to-morrow, Madlle. Alboni, Madlle. Corbari, Signor Tagliafico, Mr. John Parry, and Mr. Lindsay Sloper are engaged. (Morning Chronicle (1801), Thursday, 22 July 1847)

Friday, 27 August 1847 : Mr. R. W. Foster's Grand Concert at The Theatre, Ipswich.

MR. R. W. FOSTER BEGS RESPECTFULLY TO ANNOUNCE A GRAND CONCERT, AT THE THEATRE, IPSWICH, on Friday, the 27th August, 1847. A SELECTION OF POPULAR VOCAL AND INSTRUMENTAL PIECES, in which the following EMINENT PERFORMERS will appear VOCALISTS. MADEMOISELLE ALBONI, (Prima Contralto from the Royal Italian Opera, London.) Mademoiselle CORBARI, (Prima Donna from the Royal Italian Opera, London.) SIGNOR ROVERE, (Primo Basso Comico from the Royal Italian Opera, London.) INSTRUMENTALIST. MR. LINDSAY SLOPER, SOLO PIANIST. PART 1. Terzetto, Mdlle. Alboni, Mdlle. Corbari, and Signor Rovere, L'usato ardir (Semiramide) - Rossini. Aria, Sig. Rovere, Mici rampolli (Cenerentola) -Rossini. Cavatina, Mdlle. Alboni, Una voce poco fa (II Barbiere) - Rossini. Grand Fantasia, Mr. Lindsay Sloper (on favourite Operatic Airs) Piano Forte - Lindsay Sloper. Aria, Mdlle. Corbari, Voi che sapete (Figaro) - Mozart. Romanza, Mdlle. Alboni, Un segreto, (Lucrezia Borgia) - Donizetti. Duo, Mdlle. Corbari and Signor Rovere, Quanto amore (L'Elisir d'amore) - Donizetti. PART 2. Duetto, Mdlle. Alboni and Mdlle. Corbari, Il Conte Ugolino. - Rossini. Cavatana, Signor Rovere, Madamina, (II Don Giovanni) - Mozart. Rondo, Mdlle. Corbari, Non fu sogno (Lombardi) - Verdi. Duo, Mdlle. Alboni and Signor Rovere, De Capricci (L'Italiana) - Rossini. March and Galoppe, Mr. Lindsay Sloper, Piano Forte - De Meyer. Aria, Tyrolienne, Mdlle. Alboni, In questo semplice, (Bettly) - Donizetti. Finale, Mdlle. Alboni, Mdlle. Corbari, and Signor Rovere, Vadasi via di qua - Martini. Tickets-Upper Circle, 6s.; Lower Boxes, 4s.; Pit, 3s.; Gallery, 2s.; to be had of Mr. Deck, Cornhill, and of Mr. Foster, at his Music Library, Queen-street, where only Places can be secured. (The Ipswich Journal, Saturday, 21 August 1847)

MUSICAL TOURS IN THE PROVINCES. - Two parties will visit the different towns this year. One comprising Grisi, Signor Mario, Signor Tamburini, with Mr. J. L. Hatton, in the double capacity of vocalist and accompanyist, will be in Cheltenham on the 28th, Bath on the 30th, Bristol on the 31st, Exeter September l, and Brighton September 3. The second party, consisting of Madlle. Alboni, Madlle. Corbari, and Signor Rovere, with Mr. Lindsay Sloper as solo pianist, will sing at Ipswich on the 27th, and Bury St. Edmund's on the 28th. The other places at which the two expeditions will attend are not yet arranged, but the tour will be concluded by the combined parties singing at concerts in Liverpool and Manchester. - Morning Chronicle. (The Musical world, Saturday, 28 August 1847)

GRAND CONCERT.- Mr. R. W. Foster's grand concert for the season took place on Friday, the 27th inst., at the Theatre, Ipswich; but we regret to state that the attendance was by no means sufficient to compensate Mr. Foster for his enterprize. The programme was all that could have been desired, consisting of compositions from the most esteemed Italian masters. The artistes were Mdlle. Alboni, Mdlle. Corbari, and Sig. Rovere, from the Royal Italian Opera House, Covent Garden, Mr. Lindsay Sloper presiding at the piano. Mdlle. Alboni proved the great attraction. She was in splendid voice, and sang with a brilliancy which electrified her auditors. Her deep and rich tones in the cavatina," Una voce poco fa," but more especially in the Tyrolean air "In questo semplice." were displayed to such charming perfection, that the audience encored with an enthusiasm rarely, if ever, before exhibited within the walls of this Theatre. This must have been highly gratifying to Alboni, as showing that, though her audience was limited in numbers, yet they had the taste to appreciate her transcendent talents. In the opinion of critics many of Alboni's tones are fully equal, if not superior, to Jenny Lind's; and when the excitement created by the "Swedish Nightingale" shall have somewhat subsided, the strongest anticipations are entertained that Alboni will take her place as Prima Donna at Her Majesty's principal Theatre. Mdlle. Corbari was encored in "Non fu sogno " Sig. Rovere acquitted himself in his accustomed style in several of Mozart's and Donizetti's compositions. Of Mr. Lindsay Sloper's fantasias on the piano forte, we can only remark, that though it could be perceived he exhibited the delicacy and touch of a first-rate pianist, yet that the effects he sought to produce were, in great measure, marred by having had placed before him an instrument in every way unworthy of his talents. The piano-forte had evidently lost its tone by removal, which cannot always he provided against; every effort to restore it was unavailing, and one of the best portions of the concert was lost to the audience. (The Ipswich Journal, Saturday, 4 September 1847)

Grisi, Mario, and Tamburini, Hatton, with Lavenu as accompanyist, sang at an evening concert on the 7th at Newcastle-on-Tyne, and on the 8th at Berwick-on-Tweed. On the 9th, they were to sing at an evening concert at Glasgow, and on the next evening at Edinburgh. On the 13th they will sing at Liverpool, on the 14th at Manchester, and on the 16th at a morning concert at Chester, terminating their tour. Grisi and Mario then depart for Paris, to begin the campaign at the Theatre Italien, on the Ist of October. Tamburini goes to St. Petersburg, where he will remain until the opening of the Royal Italian Opera, Covent Garden, in the spring. Mdlle. Alboni, Mdlle. Corbari, the buffo comico, Rovere, with Mr. Lindsay Sloper, pianist and accompanyist, have been very successful in their tour. Their evening concerts in Ipswich, Bury St. Edmunds, Nottingham, and Sheffield, were brilliantly attended. (Illustrated London News, Saturday, 11 September 1847)

Saturday, 28 August 1847 : Mr. Reeve's Grand Morning Concert at Concert Room, Market Hill, Bury St. Edmund's.

CONCERT ROOM. MARKET HILL. MR. J. REEVE HAS the honour to announce he has concluded an Engagement with SIGNORA ALBONI, SIGNORA CORBARI, SIGNOR ROVERE, Of the Royal Italian Opera, Covent Garden ; AND MR. J. PARRY. Mr. LINDSAY SLOPER will preside at the Pianoforte. (Bury and Norwich Post, Wednesday, 18 August 1847)

We understand that Mr. Reeve, with a desire to gratify the lovers of music in this neighbourhood, has made application for a visit from the celebrated Jenny Lind, but is informed that her time is otherwise engaged. We are happy to see in our advertising columns that, through the spirited arrangements of Mr. John Reeve, we are to have the treat of a visit from Signora Alboni, who has delighted the musical public this season in the metropolis, and may be safely pronounced the finest contralto singer in the world ; Signora Corbari, the fast-rising second soprano of the Covent Garden Opera ; and the great buffo singer, Rovere; together with the old favourite of the public, John Parry, and Mr. Lindsay Sloper, a pupil of Moscheles, who has attained great celebrity as a pianist in France, and has lately arrived in England. (Bury and Norwich Post, Wednesday, 18 August 1847)

MUSICAL MEMORANDA….Signora Alboni, Mdlle. Corbari, Signor Rovere, and Mr. John Parry, are engaged to sing at a concert which will take place at Bury St. Edmunds, on Saturday ; conductor and pianist, Mr. Lindsay Sloper. (Morning Post, Tuesday, 24 August 1847)

UNDER THE PATRONAGE OF HER GRACE THE DUCHESS OF GRAFTON, THE LADY KATHERINE JERMYN, LADY CULLUM, LADY WALSHAM, LADY HENNIKER, AND LADY NUNBURY. MR. REEVE'S GRAND MORNING CONCERT AT THE CONCERT ROOM, MARKET HILL, BURY ST. EDMUND'S, On SATURDAY, AUGUST 28th, 1847, TO COMMENCE AT HALF-PAST ONE O'CLOCK. VOCALISTS. MADEMOISELLE ALBONI (Prima Contralto from the Royal Italian Opera, London.) Mademoiselle CORBARI, (Prima Donna from the Royal Italian Opera, London.) SIGNOR ROVERE, (Primo Basso Comico from the Royal Italian Opera, London.) Mr. J. PARRY. INSTRUMENTALIST. MR. LINDSAY SLOPER, SOLO PIANIST. PART 1. Terzetto, Mdlle. Alboni, Mdlle. Corbari, and Signor Rovere, L'usato ardir (Semiramide) - Rossini. Aria, Sig. Rovere, Mici rampolli (Cenerentola) -Rossini. Cavatina, Mdlle. Alboni, Una voce poco fa (II Barbiere) - Rossini. Grand Fantasia, Mr. Lindsay Sloper (on favourite Operatic Airs) Piano Forte - Lindsay Sloper. Aria, Mdlle. Corbari, Voi che sapete (Figaro) - Mozart. Mew Song, Mr. John Parry. "The London Season!" or "As Captain Clifford says - " Introducing Melodies of most of the popular Composers, Ancient and Modern. Romanza, Mdlle. Alboni, Un segreto, (Lucrezia Borgia) - Donizetti. Duo, Mdlle. Corbari and Signor Rovere, Quanto amore (L'Elisir d'amore) - Donizetti. PART 2. Duetto, Mdlle. Alboni and Mdlle. Corbari, Il Conte Ugolino. - Rossini. Cavatana, Signor Rovere, Madamina, (II Don Giovanni) - Mozart. Rondo, Mdlle. Corbari, Non fu sogno (Lombardi) - Verdi. Duo, Mdlle. Alboni and Signor Rovere, De Capricci (L'Italiana) - Rossini. March and Galoppe, Mr. Lindsay Sloper, Piano Forte - De Meyer. New Scene, "Lalla Rookh," being a grand Oriental Overland Transit Buffo Romance, Mr. John Parry. Written by Albert Smith. Arranged by John Parry. Aria, Tyrolienne, Mdlle. Alboni, In questo semplice, (Bettly) - Donizetti. Finale, Mdlle. Alboni, Mdlle. Corbari, and Signor Rovere, Vadasi via di qua - Martini. Reserved Seats 10s 6d. - Single Ticket, 7s. - A Family Ticket, to admit four, £1 4s, to admit 5, £1 10s., to be had at Mr. Reeve's Music Warehouse, Abbeygate-street. (Bury and Norwich Post, Wednesday, 25 August 1847)

Bury St. Edmund's.- Her Grace the Duchess of Grafton honoured with her patronage and presence Mr. Reeves's concert on Saturday morning, which was attended by several ladies of rank and fashion. The vocalists were Mdlle. Alboni, (who was well received, and encored in Donizetti's Un Segreto,) Mdlle. Corbari, Signor Rovere, and Mr. John Parry, whose buffo scenes quite delighted the company. Mr. Lindsay Sloper presided at the piano-forte, and performed two brilliant pieces with great applause. Martini's laughing trio, "Vadasi via di qua," was sung with infinite spirit by Alboni, Corbari, and Rovere, and loudly encored. Our respected resident professor, Mr. Reeves, is entitled to much credit for procuring such a rich musical treat for the amateurs of our town and neighbourhood. (Morning Post, Monday, 30 August 1847)

Concert.- Mr. Reeve has gratified the inhabitants of Bury and its neighbourhood by the introduction of three vocalists new to the country, but of talents which have established them in high places in the metropolis. In the highest rank, undoubtedly, is to be placed Mlle. Alboni, who though just past the (legal) age of womanhood, and labouring under the disadvantage of a figure embonpoint, "and something more," took the town by surprise last season, and has in some measure divided public favour with the Swedish nightingale. The most remarkable part of her voice is the contralto, in which she possesses a depth of tone and compass unequalled, but her upper range is extensive and full of sweetness, her execution facile and highly polished, her articulation most perfect, and her manner full of feeling and expression. The first quality was most conspicuously displayed in her favourite song, " Un segreto," which was added to the contents of the libretto, and was warmly encored ; but the general excellence of her voice and style was better shewn in the delicious " Una voce," and above all in the Tyrolean air, " In questo semplice," which was as perfect a piece of vocalization as we ever remember to have heard, and was called for again with the greatest eagerness. Mlle. Corbari is also a singer of great talent, with a sweet, though less powerful voice : her execution of " Voi che sapete" and of the Duet with Signor Rovere, " Quanto amore" drew forth great applause. Rovere is a buffo singer of great skill in the Italian art of giving comic expression to music of high order, and of perfect articulation and mastery over his voice, though with some roughness of quality. His " Miei rampolli," and " Madamina," were full of humour and musical excellence. But we must take this occasion of observing that the general character of the selection - though Mr. Reeve is not answerable for it - was too dramatic for a concert-room, including several pieces of that licentious description, which those who avoid the theatres cannot consistently tolerate. The favourite English humourist, John Parry, was as successful as ever in winning the plaudits of the audience by his brilliant instrumentation and his burlesque imitations, though we did not think his "London Season," one of the happiest productions of Mr. Albert Smith's pen. Mr. Lindsay Sloper is a pianist more remarkable for equality than for striking effects, like those of Liszt or Thalberg. His left hand shake was remarkably perfect, and his execution masterly and elegant throughout. The attendance at the Concert was numerous and highly genteel, including nearly all the first families of the neighbourhood. (Bury and Norwich Post, Wednesday, 1 September 1847)

Tuesday, 31 August 1847 : Mr. Dawson's Grand Concert at Music Hall, Sheffield.

MUSIC HALL, SHEFFIELD. GRAND CONCERT. MR. DAWSON has the honour to announce to the Musical Public, that he has engaged the talented and accomplished artiste MADEMOISELLE ALBONI, Whose extraordinary performances at the Royal Italian Opera, in London, has proved herself not only the first Contralto ever yet known, but one of the greatest Singers and Actresses in the world ; and that she will make her first and only appearance in Sheffield, on TUESDAY Evening next, August 31st, 1847. In addition to this powerful attraction, Mr. Dawson has engaged from the Royal Italian Opera, MADEMOISELLE CORBARI, Whose charming Singing, during the late season, has made her rise rapidly in public estimation; and SIGNOR ROVERE, the Primo Basso Comico. Pianist, Mr. LINDSAY SLOPER, his first appearance in the Provinces. Doors to be opened at Half-past Seven o'Clock, and the Concert to commence at Eight. Saloon Ticket, 5s.; Gallery, 2s. 6d. each, to be had at Mr. Dawson's Music Warehouse, Norfolk-street. (Sheffield Independent, Saturday, 28 August 1847)

Mr. Dawson's Concert. - As announced in the Independent of last week, Mr. Dawson gave a grand concert on Tuesday evening last, at the Music Hall. The attendance, we regret to say, was not nearly so numerous as we hoped and anticipated, and which we are sure, from the great amount of talent engaged, Mr. Dawson had every reason to expect. The great attraction was of course the renowned Alboni, the celebrated contralto, from the Royal Italian Opera, Covent garden, and we must say that, great as were our expectations formed after reading the various critiques upon her performances in London, the reality has more than exceeded the anticipation. For the information of those of our musical readers who had not the good fortune to be present, we may remark, en passant, that in person, as in talent, Alboni is truly great ; in her countenance good humour is personified; her voice, a contralto of most extraordinary power, compass, and sweetness, leaves nothing to be desired ; her intonation is faultless ; and, in the course of her performances, as she threw off roulade after roulade, the feelings of her delighted auditory seemed roused to the highest pitch of delight. In consequence of the crowded state of our columns this week, we have not space to enter into an analysis of the performance ; we may, however, remark that the Cavatina of Rossini, from "Il Barbiere di Siviglia," was given by Alboni with such consummate taste and feeling as to elicit an unanimous encore, which was responded to, with the exception of the recitative. Her execution of the "Tyrolean," from " Betly," met a similar reception. Of the singing of Mdlle. Corbari, we can only speak in terms of warm commendation. Her voice is a soprano of great sweetness, and considerable power, requiring some exertion in her upward register in the execution of the most difficult passages. Of Signor Rovere, the " basso comico," we can say that in the class of songs selected by him for this occasion, he must appear greatly to disadvantage in a concert room. He appears to possess very considerable comic talent, united to an excellent voice; but even these qualifications require the "pomp and circumstance" of scenic and other effects to make them appear to the best advantage, which, in in a concert room, they are denied of. The piano-forte playing of M. Lindsay Sloper was excellent indeed; we quite agree in the warm eulogiums which have been passed upon him during the recent season in London. Altogether, this was a most delightful concert, for which we thank Mr. Dawson, who is ever on the qui vive to supply the musical wants of the town. (Sheffield Independent, Saturday, 4 September 1847)

Thursday, 2 September 1847 : York Philharmonic Society's Fourth and Last Grand Concert and Ball at Great Assembly Rooms, York.

YORK PHILHARMONIC SOCIETY. THE FOURTH AND LAST GRAND CONCERT and BALL of this Season, will take place under the Patronage of THE RIGHT HON. THE LADY MAYORESS, In the Great Assembly Rooms, York On THURSDAY EVENING, September 2nd, 1817. PRINCIPAL VOCALISTS. MADEMOISELLE ALBONI, Primo Contralto from the Royal Italian Opera, London. MADEMOISELLE CORBARI, Primo Donna, from the Royal Italian Opera, London. SIGNOR ROVERE, Primo Basso Comico, from the Royal Italian Opera, London. INSTRUMENTALIST. MR. LINDSAY SLOPER-SOLO PIANIST. PART I Terzetto, Mdlle. ALBONI, Mdlle. CORBARI, and Signor ROVERE. " L'usito ardir" Semiramide - Rossini. Aria, Signor ROVERE. "Madamina"Il Don Giovanni - Mozart. Romanza, Mdlle. CORBARI. " Voi che sapete" Le Nozze di Figaro - Mozart. Grand Fantasia on popular Airs, Pianoforte, Mr. Lindsay Sloper - Lindsay Sloper. Cavatina, Mdlle. ALBONI. " Una voce poca fa" Il Barbiere di Siviglia - Rossini. Aria, Signor ROVERE. " Miei Rampolli " Cenerentola - Rossini. Duetto, Mdlle. ALBONI and Mdlle. CORBARI. "Di che pianger" Ugolino Rossini. PART II. Duo, Mdlle. ALBONI and Signor ROVERE. "Ai capricci della sorte " L'Italiana in Algieri - Rossini. Rondo, Mdlle. CORBARI. " Non fu sogno" Lombardi - Verdi. Aria, Signor ROVERE. ' Non piu andrai " Le Nozze di Figaro - Mozart. Tyrolean Air, Mdlle. ALBONI. "In questo semplice" Bettly - Donizetti. March d'lslay - Leopold de Meyer. Galoppe di Bravura -Schuloff, Piano. Mr. Lindsay Sloper. Duo, Mdlle. CORBARI and Signor ROVERE. "Quanto amore" L'Elisir d'Amore - Donizetti. Finale-Terzetto, Mdlle. ALBONI, Mdlle CORBARI, and Signor ROVERE, "Vadasi via di qua" - Martini. AFTER THE CONCERT-A BALL. Non-Subscribers Tickets, 7s. each, may be had at Mr. HARDMAN'S Music Warehouse, Coney-Street, and at the Rooms. The Doors will be Open at SEVEN, and the Concert commence precisely at EIGHT o'Clock. York, August 25th, 1847. (Yorkshire Gazette, Saturday, 28 August 1847) (Also: York Herald, Saturday, 28 August 1847.)

YORK PHILHARMONIC SOCIETY. The last concert for the season, under the direction of this society took place on Thursday evening last, in the Great Assembly Rooms, when we were delighted to see the room filled with a most fashionable audience, every available seat being occupied. The principal vocalists were Mdlle. Alboni, Primo Contralto; Mdlle. Corbari, Prima Donna; and Signor Rovere, Primo Basso Comico, from the Royal Italian Opera, London. The following was the programme : - PART I. Terzetto, Mdlle. ALBONI, Mdlle. CORBARI, and Signor ROVERE. " L'usato ardir" Semiramide Rossini. Aria, Signor ROVERE. " Madamina" Il Don Giovanni Mozart. Romanza, Mdlle. CORBARI. " Voi che sapete" Le Nozze di Figaro…Mozart. Grand Fantasia on popular Airs, Pianoforte, " Mr. Lindsay Sloper Lindsay Sloper. Cavatina, Mdlle. ALBONI. " Una voce poca fa" Il Barbiere di Siviglia..Rossini. Aria, Signor ROVERE. "Miei rampolli " Cenerentola Rossini. Duetto, Mdlle. ALBONI and Mdlle. CORBARI. "Di che pianger" Ugolino Rossini. PART 11. Duo, Mdlle. ALBONI and Signor ROVERE. "Ai capricci della sorte " L'Italiana in Algieri.. Rossini. Rondo, Mdlle. CORBARI. " Non fu sogno" Lombardi Verdi. Aria, Signor ROVERE. " Non piu andrai " Le Nozze di Figaro. .Mozart. Tyrolean Air, Mdlle. ALBONI. "In questo semplice " Betly Donizetti. March d'Islay, Leopold de Meyer. Piano, Mr. Lindsay Sloper. Galoppe di Bravura. Schulhoff. Duo Mdlle. CORBARI and Signor ROVERE. "Quanto amore " L'Elisir Amore . .Donizetti. Finale-Terzetto, Mdlle. ALBONI, Mdlle CORBARI, and Signor ROVERE, "Vadasi via di qua" Martini. It was our lot, from other engagements pressing on our time, not to reach the Concert Room until after nine o'clock, when the first part was concluded, and some progress made in the second part. Consequently our remarks must be of a very general character. Mdlle. Alboni is a most perfect singer, with a voice of extensive compass and of exquisite quality, admirably managed, with the most finished and most chaste execution and faultless intonation. Though young, she is a tall and large woman, with a face and form of the rounded and solid Italian type. Her countenance is earnest and intense in its expression. She may be accounted the most perfectly endowed contralto singer of the age. Her voice may be described as in two halves. The lower portion is firm, rich, round, capable of being subdued to a deeply touching softness, or put forth with a power almost gigantic, but always sweet. The middle portion is at times, by contrast with the rest, almost weak. Above that bursts forth a falsetto, pellucid, ample in volume, capable of drawing itself out in the most delicate silvery threads of sound, or of gushing forth with a thrilling vibration. She was loudly encored in the only solo in which we had the pleasure of hearing her. Mdlle. Corbari has obviously improved since last year, and ranks deservedly high in her profession. The rondo "Non fu Sogno," was most exquisitely sung by her. Her voice possesses great sweetness, with refined neatness. Signor Rovere was most diverting, amidst his grimace there was unfailing accuracy; and although it is difficult to estimate the singing virtues of an artist of this class, who invests everything with a premeditated oddity and grotesqueness, yet we may venture to state that Signor Rovere has the essential of a fine voice. The Finale " Vadasi via di qua" might well have been dispensed with-it was not of that character which became the occasion. Mr. Lindsay Sloper accompanied on the piano forte. He also played several solos on that instrument, in a manner deserving the applause which he received. (Yorkshire Gazette, Saturday, 4 September 1847)

York Philharmonic Society.- The report of the Committee of Management of this Society has been printed, from which we make the following extracts :- " During the past season, which closed with the concert of the 2nd day of September last, the committee have the pleasure to announce that their exertions have been attended with success. They have been able to give four public concerts and balls, and to provide for the subscribers the opportunity of hearing the following artistes:- Mademoiselle Alboni, Mademoiselle Corbari, Signer Rovere, Mr. Lindsay Sloper, Dr. Camidge, Mr. Shaw, Miss Pyne, Miss L. Pyne, Miss Parsons, Miss Kenneth, Mr. Hime, Miss A. Williams, Miss R. Williams, Mr. C. A. Seymour, Mr. Henry Allen. The committee beg to add, that the nobility and gentry of York and its neighbourhood have given great support to the society's concerts and balls during the past season, and it is hoped, that under the powerful patronage bestowed upon its exertions, the society will steadily improve and extend its sphere of usefulness. (Leeds Mercury, Saturday, 25 September 1847) (Also: York Herald, Saturday, 25 September 1847.)

Saturday, 4 September 1847 : Concert at Exchange Rooms, Wakefield.

WAKEFIELD. CONCERT AT THE EXCHANGE ROOMS. On Saturday last, a company consisting of Mdlle Alboni, Corbari, Signor Rivieri, and Lindsay Sloper, gave a grand morning concert at the above rooms. Several pieces were encored, and during the whole of the performance they received the The following distinguished [?] were engaged for this concert, and we are assured that their performances gave very general satisfaction, viz., Mademoiselle Alboni, prima contralto, from the Royal Italian Opera, London ; Madame Corbari, prima donna, from the same Opera House ; both [?] with early encores. Signer Revere, prima basso comico, from the Italian Opera ; and Air. Lindsay Sloper, who presided at the piano-forte. The concert consisted of selections from the works of Mozart, Rossini, Donizetti, Schulhoff, &c. (Leeds Mercury, Saturday, 11 September 1847)

Tuesday, 7 September 1847 : Mr. Skelton's Grand Miscellaneous Vocal and Instrumental Concert at Music Hall, Jarratt-Street, Hull.

GRAND MISCELLANEOUS VOCAL and INSTRUMENTAL CONCERT at the Music HALL, Jarratt-street, Hull, on TUESDAY EVENING, Sept. 7, 1847. MADEMOISELLE ALBONI, MADEMOISELLE CORBARI, SIGNOR ROVERE, Primo Contralto, Primo Soprano, and Primo Basso Comico, from the Royal Italian Opera, Covent Garden. LINDSAY SLOPER,- SOLO PIANIST. Tickets, 5s. each Family Ticket, to admit Five, £1 1s; second Seats, 2s. 6d. (Hull Packet, Friday, 27 August 1847)

MR SKELTON'S ANNUAL GRAND MISCELLANEOUS VOCAL and INSTRUMENTAL CONCERT at the Music HALL, Jarratt-street, Hull, on TUESDAY EVENING, Sept. 7, 1847 at Eight o'clock. MADEMOISELLE ALBONI, MADEMOISELLE CORBARI, SIGNOR ROVERE, from the Royal Italian Opera, Covent Garden. LINDSAY SLOPER,- SOLO PIANIST. PROGRAMME. PART I Terzetto, Mdlle. ALBONI, Mdlle. CORBARI, and Signor ROVERE. " L'usito ardir" Semiramide - Rossini. Aria, Signor ROVERE. "Madamina" Il Don Giovanni - Mozart. Romanza, Mdlle. CORBARI. " Voi che sapete" Le Nozze di Figaro - Mozart. Grand Fantasia on popular Airs, Pianoforte, Mr. Lindsay Sloper - Lindsay Sloper. Aria. Madlle Alboni "Il Segreto," Lucrecia Borgia - Donizetti. Aria, Signor ROVERE. " Miei Rampolli " Cenerentola - Rossini. Duetto, Mdlle. ALBONI and Mdlle. CORBARI. "Stabat Mater" - Rossini PART II. Duo, Mdlle. ALBONI and Signor ROVERE. "Ai capricci della sorte " L'Italiana in Algieri - Rossini. Rondo, Mdlle. CORBARI. "Non fu sogno" Lombardi - Verdi. Aria, Signor ROVERE. ' Non piu andrai " Le Nozze di Figaro - Mozart. Tyrolean Air, Mdlle. ALBONI. "In questo semplice" Betley - Donizetti. March d'lslay Piano. Mr. Lindsay Sloper - Leopold de Meyer. Duo, Mdlle. CORBARI and Signor ROVERE. "Quanto amore" L'Elisir d'Amore - Donizetti. Finale-Terzetto, Mdlle. ALBONI, Mdlle CORBARI, and Signor ROVERE, "Vadasi via di qua" - Martini. Tickets, 5s. each Family Ticket, to admit Five, £1 1s; Books of the Words, with Translations, Six-pence each. To be had at the Book and Music Sellers. Second Seats, 2s. 6d. (Hull Packet, Friday, 3 September 1847)

MR. SKELTON's GRAND CONCERT.-On Tuesday evening last Mr. Skelton gave his annual grand miscellaneous vocal and Instrumental concert at the Music Hall, Jarratt-street. Mesdemoiselles Alboni and Corbari, and Signor Revere were the vocalists. Mr. Lindsay Sloper was the solo-pianist. The room was crowded in every part, and we never remember any similar occasion upon which so many of the leading families of the town and neighbourhood were assembled together. This must be gratifying alike to Mr. Shelton and the celebrated vocalists he had engaged, when we consider that the concert was held only three days prior to that in which Mdlle. Jenny Lind makes her appearance. The first part commenced with the terzetto "Lusato ardir," from Rossini's Semiramide. This was exquisitely sung by the three principal vocalists, whose voices harmonized to perfection and the very absence of all ambitious display in the performance convinced us that this trio was but the prelude of a rich treat to come. Signor Revere next came forward, it Mozart's aria "Madaminia," from Don Giovanni. This he sung with much effort but with little effect. And in the and all his subsequent solos he failed to impress us favourably. His voice appeared to us hard and dry, and his rendering of this and the buffo airs "Mici Rampolli" and "Non piu Andrai" fell so lamentably short of their delivery by Lablache, in the same room a year or two ago that we are utterly surprised any attempt should have ever been made for a moment to compare him with the giant vocalist. Next followed Mdlle. Corbari in Mozart's delicious romance from the Marriage of Figaro "Vol che sapete." And here the surprise was as agreeable as the disappointment in the case of Signor Rovere was great. Never having heard Mdlle. Corbari, nor even heard much about her, we were perfectly astonished to find her the possessor of an exquisite voice, regulated by the most refined taste. Mdlle. Corbari's voice is a soprano of considerable power and compass, and of exquisite purity. Her middle and upper notes are beautifully clear and liquid, and her intonation is perfect. She stole upon the audience by surprise; and they found themselves rapturously crying out for an encore before they had well recovered from their astonishment at the unexpected excellence of her performance. The applause she won in her opening aria was not subsequent forfeited. Twice afterwards was she encored,-an honour not more deserved by the delicious qualities of her voice than by the chaste style of her delivery, and her scrupulous fidelity to the text of the composer, Mr. Lindsay Sloper. After a brief fantasia on the piano-forte by Mr. Lindsay Sloper, Mdlle. Alboni made her appearance, and to an enraptured audience delivered the fine bacchanalian song "Il segreto per esser felici," from Donizetti's Lucrezia Borgia. Never did we see an audience more completely carried away, and on that fine passage of the aria occurring at the words "non curiamo," &c., the magnificent lower notes of this unrivalled contralto's voice were developed in all their power and fullness, and with a thrilling effect. We need hardly say that the aria was enthusiastically encored. In Rossini's exquisite duet "Di che pianger,' from the Stabat Mater, the cultivated musician found the richest treat of the whole concert. Nor were the audience slow to perceive the surpassing merits of the performance, as nothing but a feeling of consideration for the exertions of the fair vocalists restrained them from calling for its repetition. The last solo which Alboni sung, was, Donizetti's Tyrolean Air, "In questo semplice" and this she gave with such power, spirit, and effect, as to create a perfect furor in an audience proverbial for its frigidity. And well it might. The spirit-stirring tones of her wondrous voice were enough to "create a soul under the ribs of death." Nothing could be more exciting, and with one universal shout was the encore demanded. Our space will not allow us to say more. Everything we have quoted in praise of Alboni falls short of her merits. All mere description must do so. No one can fully understand how wondrous a singer she is who does not hear her. Should she ever again sing in Hull, we are persuaded no building the town contains will be too large for the audience that will be assembled. We have only to add, that the great and only fault of the concert was a very uncommon one - it -was much too short. So desirous were the audience of listening to this latest moment to the strains of these "sweet singers," that they even encored the hacknied " Vadasi, via di a qua," which concluded the concert. (Hull Packet, Friday, 10 September 1847)

Wednesday, 8 September 1847 : Grand Concert at Music Hall, Leeds.

GRAND CONCERT. The Nobility, Gentry, and Inhabitants of Leeds and the Neighbourhood are of respectfully informed that a GRAND CONCERT will be given in the MUSIC HALL, LEEDS, on Wednesday Evening, September Eighth, by the following highly distinguished artists. VOCALISTS. MADEMOISELLE ALBONI, (Prima Contralto from the Royal Italian Opera, London.) Mademoiselle CORBARI, (Prima Donna from the Royal Italian Opera, London.) SIGNOR ROVERE, (Primo Basso Comico from the Royal Italian Opera, London.) INSTRUMENTALIST. MR. LINDSAY SLOPER, SOLO PIANIST. The Concert Will commence at Eight o'clock. Tickets - Saloon 6s; Family ditto, to admit Four, 21s,; Gallery, 2s. 6d. To be had of Messrs. HOPKINSON, Commercial-street, and the usual Places. (Leeds Mercury, Saturday, 28 August 1847) (Also: Leeds Mercury, Saturday, 4 September 1847.)

MADEMOISELLE ALBONI AT LEEDS. At rare intervals it happens that a few of the distinguished singers, who have during the season delighted a London public visit our good, but, as regards music, sadly neglected town. They then favour us with a few airs, accompanied by the piano-forte, and such an entertainment of chamber music passes with us under the high-sounding title of a "grand concert." But in the few observations which we shall deem It our duty to make upon this subject we wish not to be misunderstood. The want of really good music of which we complain in Leeds; is, by. no means, to be ascribed to a want of spirit in the entrepreneurs. Our leading amateurs have frequently endeavoured to obtain for us the best musical talent in the country, but with a sadly uniform result - that of a serious pecuniary loss. Then again, Messrs. Hopkinson have, as opportunity offered, tried to provide us will good musical entertainments, but we very much doubt if they have not often had to tell the same melancholy tale. From the above facts, the conclusion is irresistibly forced upon us, that our general public does not possess that taste for good music which is shown by the inhabitants of other and neighbouring towns. Other places, less rich and less important than Leeds, have their subscription concerts, their assemblies, glee clubs, and respectable theatres, and even their musical festivals ; while we, for the most part, have to content ourselves with the hum-bug lectures of a Fraser, or the screechings of some hapless North American Indians. We should indeed rejoice if we could excite our for townsmen, and our fair townsmen no less, to an emulation in that which forms so distinguishing a characteristic of our time, and which seems to us so sure a proof of its growing refinement, viz., the cultivation and encouragement of the highest branches of this noble art. The Leeds amateurs had, on Wednesday evening last, the opportunity afforded them of hearing and of judging one at least of those great artistes who kept the London musical world during a whole season in a state of considerable excitement. Of the high artistical merits of Mademoiselle Alboni, there can be but one voice, i.e., the voice of praise. Her notes, especially those of the middle and lower register, are of the most exquisite quality - mellow, rich, and extremely powerful. Her intonation is very pure, her shake splendid. But the cadences, although she applies them to the ornamental song with the utmost taste, and with an endless variety, are at times devoid of distinctness, and somewhat chaotic. In power and depth of voice, we greatly question whether Alboni is excelled, or even equalled, by any living singer. The highest and most accurate feeling Characterises her singing, and in everything she shows herself the great and thorough musician. The audience (though not very numerous, but fashionable, select, and elegant, and including the best amateurs of our town) at once recognised in Mademoiselle Alboni, after hearing the first few passages of the hacknied cavatino " Una voce," the great singer. The applause which was paid her increased more and more in the course of the evening, and reached its climax at the Tyrolean air, "In questo semplice." The people looked at one another in wonder and astonishment, and, as on the first evening of Jenny Lind's appearance in her Majesty's theatre, asked in a state of great excitement-"Did you ever hear anything like it?" Signor Roveri's merit as a singer is mainly to be found in his clear intonation and distinct enunciation of the words; But his voice is deficient in smoothness and flexibility, and having selected exclusively such airs as the older Lablache sings with so much distinction, the comparison - if a comparison must be made - will necessarily turn out disadvantageously to Signor Roveri. Nor can we approve of his taste in confining himself during the whole evening to Buffo Airs. the Mademoiselle Corbari possesses a fine soprano voice, which in the simple and unornamented song, she uses with much effect. The Romanze of the Page, from "Le Nozze," she gave very beautifully, and the encore of this exquisite composition was well merited. But notwithstanding the fine tones of her voice, she leaves her hearers rather cold, a proof that her performance is more a matter of study than of feeling. We much regret that the playing of Mr. Lindsay Sloper was not listened to with that attention, which it so well merited. But the audience were no doubt too much excited by the singing of Alboni, to listen very attentively to-piano-forte playing. On all sides we were asked, Well, who is the greater singer,- Jenny Lind or Alboni ?" A distinct answer to this question is a matter of no small difficulty equally difficult as it would, be to answer satisfactorily the inquiry of a viewer of the National Gallery, as to who was the greater painter,- Coreggio or Guido ?' Jenny Lind's voice is a high soprano, Alboni's is a deep contralto, both are artistes of the very highest order, and at present unrivalled in their different walks. Thence the difficulty as to who is the greatest singer? But that, taking her all in all, Jenny Lind is the finer genius; and is, moreover, one of those rarely gifted beings in whom the art is exhibited in all its ideal beauty, admits, in our mind, of no doubt. As to their rival claims, we can only express the wish that the opportunity may be speedily afforded to the Leeds public to decide for itself this very interesting, but rather knotty point. (Leeds Mercury, Saturday, 11 September 1847)

Concert. A grand concert was given in the Music Hall, in Leeds, Wednesday evening. Millie. Alboni, Mdlle. Corbari, and Signor Rovere, all from the Royal Italian Opera, London, were the vocalists; and Mr. Lindsay Sloper presided at the piano forte. The concert was by no means remarkable for novelty; but this defect, if defect it may be called, was amply compensated for by the excellent style in which each piece was performed. Mdlle. Alboni achieved, what is not very usual with a Leeds audience, something like a furor. Her full, rich contralto voice, which is under perfect control, and executes the most difficult passages with ease, is calculated at once to please and astonish, and leaves little, if anything, to desire, even after the far famed Jenny Lind, with whom, however, it is perhaps hardly fair to compare her, differing, as she does, so essentially from the Swedish Nightingale, as well in quality voice as in personal appearance. The cavatina from the Barber of Seville, "Una voce poco fa," and the Tyrolean air from Betly, "In questo semplice," she sang in exquisite style ; and in each elicited rapturous encore. She did not, however, repeat the former, but gave instead of it the beautiful song from Lucretia Borgia, "Segreto peresser felice" the Tyrolean air nothing was wanting but that it should have been sung in character; so sung Alboni it is a most charming performance. Mdlle. Corbari deservedly occupies a first place amongst the singers of the present day. Her voice is both powerful and sweet, and always in excellent tune. She sang the Romanza from the Marriage of Figaro, Voi che sapete," with great taste and sweetness, and obtained for it a well-merited encore. Signor Rovere also sang well, particularly the trio from Semiramide L'usato ardir, which was a most delightful piece of harmony most delightfully sung by all the performers. Mr. Lindsay Sloper played the accompaniments on the piano excellently well; and his solo performances on the piano forte would, we believe, have obtained more rapturous applause than they did, had his name been as well known as that of Thalberg or Dulcken. The room was pretty well filled, but not crowded, it being the season when many families are turning at distant places of summer resort. (Leeds Intelligencer, Saturday, 11 September 1847)

Concert Hall-A dress concert took place yesterday evening, for which Signora Grisi, Signora Alboni, Signora Corbari, Signor Mario, Signor Tamburini, and Signor Rovere were engaged as vocalists, and Mr. Lindsay Sloper as pianist. The concert was very fully attended, and, as might be anticipated from the talent engaged, proved one of the most brilliant that has been given for many years. From the late period of its termination. we must postpone a de tailed notice until Saturday. (Manchester Courier and Lancashire General Advertiser, Wednesday, 15 September 1847)

CONCERT HALL. - One of the most crowded audiences ever assembled in this room was that of Tuesday evening last; and the gratification realised by those present was proportionately great, Most of our musical readers are aware of the combination of talent forming the recent Covent Garden Operatic Company. The elite of these were brought down, by the directors of the Concert Hall, on this occasion; and when we give the names of Grisi, Corbari, and Alboni, with those of Mario, Revere, and Tamburini, it will be easily understood what would be the anticipation of those enjoying the Privileges of entre to this temple of provincial aristocracy; nor scarcely need we add, that the anticipation was fully realized. A finer concert, even in the days of the past, was never given in this room. The whole of this superb corps of vocalists were in fine voice, - Grisi in good humour,-with the prestige of a rival, no doubt, ringing in her ears, Be it so or not, she proved to those present, that she is yet a great artist, and the criticisms in which both the press and the public have recently indulged in reference to her Swedish rival, border somewhat upon exaggeration. We were not among those carried from the power of rational comparison and judgement by the Lind mania: it was our humble opinion that after the singing of "Casta Diva" by Grisi, on Tuesday evening - an exhibition of vocal grandeur not to be equalled in the modern list of vocalists, the charming Lind included. There has been some blame attached to the directors of this room for the neglect of an engagement with the latter lady. We do not share this feeling. To expend so large a proportion of the annual subscription upon the engagement of one individual, when such a combination of varied and superb talent as that under notice could be obtained for less money, would have been a reckless waste of the funds entrusted to them, and a decided absence of good taste. Music is not to be exalted in Manchester by pandering to the gratification of a morbid curiosity. At all events we trust the directors of our musical institutions will set a better example. It is rather creditable than otherwise to the directors of the Concert Hall that on this occasion they have taken such a course. It is not only important to the institution, but still more so to the art, for the promotion of which, we trust, it is established and supported. Grisi, we have observed, was in fine voice, and we have spoken also of her " Costa Diva." In "Oh, matutina albori," Or from "La Donna del Lago,' she was equally great; it is perhaps the gem of the opera, and Rossini would have been proud to hear it sung on this occasion. It was rapturously applauded, - an excitement not often reached in this atmosphere. Her singing, also, in the concerted pieces, was equally beautiful. When we mention "Adelaida" as one of the airs given to Mario (followed by "Come gentil," when encored), and the charming romanza "Spirto gentil," from La Favorite" (which however he gave in the French version, "Ange si pur"), encored also, our readers can quite understand the treat he afforded. Mario has wonderfully advanced in quality and reputation during the past few years, and though he may not be the most graceful or intellectual actor, yet, with the excellent voice he possesses, so perfect in quality, so full of sentimental expression, and confining himself to a certain class of character, there are few vocalists in our remembrance, who have gained so high a position so justly.. Madlle. Alboni possesses that class of voice which deeply impresses itself upon the feelings; it is like one of those speaking voices which, having once heard in connection with some particular sentiment, can never be forgotten. After hearing her, you do not in future anticipate or desire any extraordinary display of execution; you prefer the voice itself. And the sentiment it conveys, to any exhibition of dexterity. Those who heard her aria from "Semiramide," - "In si Barbara sciagura," - will quite understand what we mean. She was encored in this as well as in the Tyrolienne from Donizetti's "Betley," but she substituted the "Il segretto" from "Lucrezia Borgia" for the first, and judiciously repeated only part of the second. She is one of the greatest artists this country has heard; but she has not been puffed, and therefore is less appreciated by the public than she deserves. Signora Corbari has a voice of pleasing quality, and sings with nice judgment. Inferior singers have made a much greater noise in the world; but she is fast rising in public estimation.-Signor Rovere would please us much better in a concert-room, if he brought with him less of stage extravagance; and "Sulla Poppa," the piece selected by or for him, is scarcely of concert-room quality. He has talent, nevertheless, and a voice that will improve with years.- Tamburini is not quite so young as he was ten years back; but he has equal judgment and taste, and is a great artist. It was pleasant to find him as brilliant in execution, with a voice little, if any, touched by the hand of time. His aria "Il mio piano," was beautifully sung; he was in fine voice, which blended charmingly in the concerted pieces. Indeed, the latter were given with more care than if frequently bestowed by artists who ought to know better than to neglect them.-Romberg's overture in D opened the first part; that to "Zauberflote" the second. The former was well executed - the latter a little hurried.- Mr. Lindsay Sloper played the adagio and rondo to Moschelles' fourth concerto, and not the rondo (B minor) of Mendelssohn, on the piano-forte, as set down for him. His playing has been much applauded in London, and some points deservedly so. His style is good,- of what we may term the Cramer school.- but he lacks energy and feeling, which are quite compatible with the absence of exaggeration. (Manchester Times, Saturday, 18 September 1847)

Thursday, 9 September 1847 : Mr. Carte's Two Grand Evening Concerts at Theatre Royal.

GRAND CONCERTS. NEWCASTLE-UPON-TYNE. MR. CARTE HAS the Honor to announce that he has entered into Engagements for the Appearance of the celebrated Vocalists, MADAMOISELLE ALBONI and SIGNOR TAMBURINI, in addition to MADAME GRISI, SIGNOR MARIO, and other distinguished Artists, from the ROYAL ITALIAN OPERA, London at TWOGRAND EVENING CONCERTS To take place at the THEATRE ROYAL, on TUESDAY the 7th, and THURSDAY the 9th of SEPTEMBER COMMENCING EACH EVENING AT EIGHT O'CLOCK. VOCAL. MADAME GRISI, SIGNOR MARIO, MR J. L. HATTON, AND SIGNOR TAMBURINI. MADAMOISELLE ALBONI, MADAMOISELLE CORBARI, AND SIGNOR ROVERE. INSTRUMENTAL. PIANO-FORTE: MR LINDSAY SLOPER and MR J. L. HATTON. FLUTE: MR CARTE. Madame GRISI, Signor MARIO, Mr J. L. HATTON, Mr CARTE, and Signor TAMBURINI will perform on the 7th; and Mademoiselle ALBONI, Mademoiselle CORBARI, Signor ROVERE, Mr CARTE, and Mr LINDSAY SLOPER, on the 9th. - Lower Boxes, 7s; Upper Boxes, 5s; Pit, 3s; Gallery, 2s. The Box Office will be opened at the usual Hours on Saturday, the 4th. The Box Book will also be at Miss Bell's. Parties at a distance can have Places secured according to priority of application, on the opening of the Box Book, by writing and enclosing the Amount for the places required, to Mr Dunn. Box Book Keeper, 8, Stanfordham Place, Percy Street. Entire Boxes may be secured now, by applying to Mr Dunn. The Doors will be opened less than half an hour before the commencement of the Performances. (Newcastle Courant (1803), Friday, 27 August 1847) (Also: Newcastle Courant (1803), Friday, 3 September 1847; Newcastle Journal, Saturday, 4 September 1847; Newcastle Journal, Saturday, 28 August 1847; Newcastle Guardian and Tyne Mercury, Saturday, 28 August 1847; Newcastle Guardian and Tyne Mercury, Saturday, 4 September 1847.)

MR. CARTE'S GRAND CONCERTS. During this week, Mr Carte has given two concerts in the Theatre of this town, which have possessed more than usual attractions and been accompanied by brilliant success. On Tuesday evening, Madame Grisi, Signor Mario, Mr J. L. Hatton, and Signor Tamburini, appeared before a large and fashionable audience, the programme embracing some of the most favourite pieces of the Italian opera. The three Italian vocalists appeared in the first piece "Ambo morrete," which they gave with surprising effect. They were in splendid voice, and this and all their subsequent efforts elicited rapturous plaudits. They were frequently encored. Mr Hatton, who presided at the piano, sang two English comic songs, which were well received, and Mr Carte favoured the company with a fantasia on the flute, in which the popular air of the Keel Row was embodied, which met with its due reward in the enthusiastic and oft-repeated applause of the house. On Thursday evening, the second concert was given before a densely crowded and delighted audience, several of whom (owing to the dress circle being previously fully occupied) were provided with seats on the stage. Among the company we noticed the Ravensworth family, Lady Williamson, T. E. Headlam, M.P., the Mayor, and indeed nearly the whole of the elite of the town and neighbourhood. The first piece was a terzettino commencing "L'usato ardir" (How beats my heart,) by Alboni, Corbari, and Rovere, three of the most distinguished artistes of the age. Mademoiselle Alboni, who was the principal attraction, has a fine noble figure and an expansive chest, and her high fame led us to expect much. Mad. Corbari has a more delicate and feminine appearance; the tones of her voice are of a pure and silvery sweetness, and she has a perfect articulation, though evidently not produced without great effort. The rondo "Non fu sogno," (No! 'twas not a dream.) was a piece of delicate beauty and mellifluous sweetness. It was loudly encored. But what shall we say of Alboni, and her singing of the Tyrolean air in Donizetti's "Betly" ? Who that heard it will ever forget that mighty burst of power and pathos in the words " O liberta gradita" ? We can describe it only by its effects. It seemed to take the audience by surprise, and to hold them in a kind of mysterious enchantment, from which they were both unable and unwilling to extricate themselves. Had Jenny Lind herself appeared to-day, as announced, we do not think she could efface the impression it produced, from our mind. We need not say it was enthusiastically encored and encored again. Signor Rovere, to a commanding figure and a fine rich voice, adds great dramatic powers. He sung with great effect the piece Mici rampolli, from Rossini's "La Cenerentola." Mr Lindsay Sloper conducted the accompaniments on the piano-forte with great ability. We refrain from attempting to add to the widely-extended and well-merited fame of Mr Carte; suffice it that he treated us to two of those performances on the "Doric reed," which we hear only from himself. The concert, which was in every respect most successful, was appropriately closed by Alboni, Corbari, and Rovere, singing the laughing terzetto "Vadasi via di qua" (Come and with us be gay) which was executed in charming style. (Newcastle Guardian and Tyne Mercury, Saturday, 11 September 1847)

Mr. Carte's Concerts.-A rich treat has been afforded by Mr. Carte during the past week, to the lovers of music in this town and neighbourhood, that gentleman having; given two concerts in the Theatre, with a combination of talent rarely witnessed in the provinces, the party including most of the celebrated artistes from the Royal Italian Opera Covent Garden. The first Concert took place on Tuesday evening, and brought out Grisi, Mario, and Tamburini, with Mr. Carte on the flute, and Mr Hatton on the piano. The second took place on Thursday night and the chief attraction was the renowned Alboni, whose reputation is second only to that of Jenny Lind, whose great rival she has been throughout the London season. She was accompanied by Corbari and Signor Rovere, with Mr. Lindsay Sloper on the piano. The audience, on both occasions, was exceedingly numerous, and comprised nearly all the leading families in the town and neighbourhood, as well as several from North and South Shields, Durham, Sunderland, and Morpeth, special trains having been engaged to carry the parties back after the concert was over. The concert on Tuesday evening, …The concert on Thursday evening was again opened by the entire force, in a Terzettino "L'usato ardir" from Rossini's "Semiramide "'but though the melody was extremely charming, and the execution excellent, it came flatly on the audience, and the dullness was not relieved by the aria from " Don Giovanni" which was prettily sung by Signor Rovere. The beautiful romanza, "Voi che sapete." from Mozart's "Nozze de Figaro," was given by Corbari with great taste and feeling, and was loudly encored. This lady has a fine rich voice, which has evidently been well cultivated; her appearance on the stage is modest and retiring, giving her rather an air of timidity. The cavatina "Una voce poco fa," from Rossini's opera Il Barbiere de Siviglia by Alboni, took the audience by surprise. The voluptuous melody of her voice her marvellous execution, the ease and gracefulness of her delivery fully justify all that has been written in her praise. Language fails to convey an adequate idea of her performance, and the same may be said of the "Tyrolean Air" by Donnizetti. It was really marvellous. Twice was it encored and three times was she called back to receive the rapturous plaudits of a delighted audience. - Alboni was, of course, the chief attraction of the evening, and to hear her alone was worth three times the price of admission. Rovere's expressive countenance was displayed to great advantage in the aria from "La Cenerentola,', and in the duetto, "Quanto amore," from Donizetti's opera of " L'Elisir d'amore." It were needless to particularize the several pieces, all of which were well received, and most of them rapturously encored. The musical part of the community are much indebted to Mr. Carte for the excellent treat he has afforded them, and though some disappointment was naturally felt that Jenny Lind's engagement was not fulfilled, it has been in some measure relieved by the wonderful abilities of Alboni. (Newcastle Journal, Saturday, 11 September 1847)

Saturday, 11 September 1847 : Grand Subscription Concert at Assembly Room, Whitehall Buildings, Kendal.

Grand Concert. THE FIRST CONCERT will take place on Saturday Evening, the 11th of September in the Assembly Room, Whitehall, to commence at Seven o'Clock precisely, when the following eminent performers will appear: - Mademoiselle ALBONI, (Prima Contralto from the Royal Italian Opera, London). Mademoiselle CORBARI, (Prima Donna from the Royal Italian Opera, London). Signor ROVERE, (Primo Basso Comico from the Royal Italian Opera, London). instrumentalist. Mr. LINDSAY SLOPER, Solo Pianist. Subscribers of One Guinea will be entitled to Two Tickets for each Concert, and Subscribers of Thirteen Shillings to One Ticket for each Concert. Non-Subscribers -Dress Circle, 7s. 6d.; Middle Seats, 5s.; Back Seats, 2s. 6d. Tickets and Programmes may be had of Mr. J. Hudson, and the other Booksellers. Books of the Words, 6d. each. For the accommodation of Parties from the Lakes, arrangements have been made with the Kendal and Windermere Railway Company for a Train to leave Kendal immediately after the Concert; and Tickets taken at the Windermere Station on Saturday, the 11th, will be available to return by this Train. Kendal, August 30, 1847. (Westmorland Gazette, Saturday, 4 September 1847)

SUBSCRIPTION CONCERT. The first of the grand subscription concerts, to which we have before drawn attention, took place on Saturday last in the Assembly Room, Whitehall Buildings. The vocalists as previously announced, were Mdlle. Alboni, Mdlle Corbari, Sig. Rovere, of the Royal Italian Opera; the instrumentalist Mr. Lindsay Sloper, the eminent pianist. The evening was an unfavourable one, both in respects the day of the week - a circumstance unavoidable on account of the engagements of the vocalists - and the state of the weather, which was stormy and uninviting. Nevertheless there was, we are happy to say, a large and very fashionable attendance, comprising the principal families of the district. The programme of the concert was as follows :- PART I . Terzetto, Mdlle. Alboni, Mdlle. Corbari, and Signor Rovere" L'usato ardir," (Semiramide). - Rossini. Aria. Signor Rovere, "Madamina!" (Il Don Giovanni) -Mozart. Romania, Mdlle. Corbari, " Voi che sapete" (Le Nozze di Figaro). - Mozart. Grand Fantasia on Popular Airs, pianoforte, Mr. Lindsay Sloper. - Lindsay Sloper. Cavatina, Mdlle. Alboni, " Una voce poca fa" (Il Barbiere di Siviglia).- Rossini. Aria, Signor Rovere "Miei rampolli," (Cenerentola).-Rossini. Duetto. Mdlle - Alboni and Mdlle. Corbari, "Di chi pianger," (Ugolini ) -- Rossini - PART II. Duo, Mdlle. Alboni and Signor Rovere, "Ai capricci della sorte > " (L'Italiana in Algieri).-Rossini. Rondo. Mdlle Corbari " Non fu sogno," (Lombardi).-Verdi. Ari Signor Rovere, " Non piu andrai," (Le Nozze di Figaro) - Mozart. Tyrolean Air, Mdlle Alboni "In questo semplice," (Betly).-Donizetti. March d'Islay, piano-forte, Mr. Lindsay Sloper - Leopold de Meyer. Duo. Mdlle. Corbari and Signor Rovere, "Quanto Amore '"(L'Elisir d'Amore).-Donizetti. Finale - Terzetto, Mdlle Alboni, Mdlle Corbari, and Signor Rovere, "Vadasi via di qua." - Martini " It would be a very superfluous piece of affectation on our part were we to enter into anything like a detailed criticism of the performances of the evening, but the advent of artists of so high an order of excellence as those who visited us last week, more especially Alboni, is an event so rare in Kendal that we shall be excused for saying a little more than merely that the performances were admirable. Alboni is confessedly one of the vocal wonders of the time. A good contralto voice is always an uncommon gift, but an organ like Alboni's, of such supreme excellence in a class itself so rare, cannot but strike the dullest perception as extraordinary. Ascending from tone s of startling depth, power, and richness, and producing the effect so peculiar to fine female voices of a lower register, it comprises eighteen or twenty even and perfect notes without any perceptible indication throughout of that crack or break that, as in male falsettos, often impairs the effect of female voices of this description, and in the upper notes she revels in facility and brilliancy. Her power of swelling and diminishing the tones in the lower notes is most remarkable, nor is her execution of the higher passages, or the expression she gives to a musical phrase less remarkable. All these qualities were charmingly displayed in the well-known air "Una voce poco fa" but the greatest effect was produced in the famous Tyrolienne from "Betly," not unfrequently twice encored by London audiences, and chosen by her Majesty, if we recollect right, for Alboni's performance at the last concert at the palace. Even to those from whom a foreign language might hide much of the vivacity and verve with which Alboni renders the mountain heroine's saucy defiance of the pretensions of the presumptuous sex, the thrilling "tra-liri-la!" with which she crowns the sentiment, "O liberta gradita," &c. was electrifying, and this song at least was gladly encored. - Mdlle. Corbari has a mezzo-soprano voice of much sweetness and brilliancy. She sang Mozart's beautiful romance " Voi che sapete " with great skill and feeling and her duet with Rovere well deserved, although it did not receive, an encore. Rovere, without possessing a voice of the first-class (his upper tones being rather nasal) sings admirably, and with a comic power which has gained him the reputation of being one of the best buffo singers of the day. His recitative from "Don Giovanni"- Leporello's monstrous catalogue of his master's loves - was highly comic, and he sang the magnificent bass air from "Figaro" with good taste and judgment; his bye-play in the concerted pieces, in all of which he exhibited the qualities of a finished vocalist, was that of a capital actor. Of Mr. Lindsay Sloper we will only say that he displayed much of those resources which have given him a high rank among our native pianists. His touch is exquisite, and his mechanism beautiful. Three only of the performances of the evening were encored, the " Una voce," for which Alboni substituted a favourite song from " Lucrezia Borgia, "Il segreto per esser felice," the Tyrolienne already mentioned and the laughing trio. The concert owing to the few encores, did not occupy above an hour and twenty minutes ; and here we cannot help noticing that a colder and more apathetic audience, taken as a whole. we never observed. We presume not to say that it was unappreciating, but it certainly was with but few exceptions most undemonstrative of gratification. It may be all very true, that the vocalists were well aware of their merit as artists, without the approbation of the audience of Saturday evening, but it is nevertheless true that a little encouragement as not without good effect on all singers, who, in its absence, are apt to imagine that their efforts are not appreciated. Even the ladies, we should imagine, might, in their graceful way, testify some gentle mark of approbation, without any compromise of feminine retenue -at all events, her Majesty sets them the example. We cannot conclude this brief notice without observing that the thanks of the lovers of good music in Kendal are justly due to Mr. Gerard Gaudy, and Mr. G. E. Wilson, for their exertions in originating these concerts. (Westmorland Gazette, Saturday, 18 September 1847)

Monday, 13 September 1847 : Liverpool Philharmonic Society's Two Grand Full-Dress Concerts at Lecture-Hall, The Collegiate Institution, Liverpool.

LIVERPOOL. - The Philharmonic Society has this week given the two most brilliant concerts ever heard in Liverpool. We do not hesitate to say that, not even at a festival, have we ever had a greater array of vocal talent than the combination presented. The overture to "Anacreon" and the Nozze di Figaro" were on Monday excellently performed by the orchestra, under Messrs. Herrmann and H. F. Aldridge. The vocal pieces commenced with the terzetto from "Anna Bolena," "Ambo movete," by Grisi, Mario, and Tamburini. Tamburini's splendid organ may, perhaps, have deteriorated in quality slightly, but his style and facility of execution are admirable as ever. Signor Rovere is an excellent buffo; his Madamina !" we have not heard surpassed. Mademoiselle Alboni showed her truly astonishing powers in Rossini's "Una voce." In addition to the most charming contralto voice we ever heard, she has the compass and flexibility of a soprano, and an almost unequalled finish and chasteness in her cadenzas. She was loudly encored; but instead of repeating the cavatina, to the great delight of the audience, substituted the drinking song "Il Segreto" from " Lucrezia." In the cavatina from "I Puritani," the corni made an unfortunate mistake. The quartette, "A te, o cara," was encored with rapture, and its substitute, Comé gentil," was greeted with a hearty burst of applause. In both, Mario proved himself the great tenor of the day. Madlle Corbari's "Voi che sapete" wan a delicious piece of vocalisation, and was deservedly encored; as was Mario in the aria, "Spirto gentil," which, by the way, he gave in the original French. The comic duetto between Tamburini and Rovére was a great treat. Messrs. Lindsay Sloper, and Lavenu, (the composer of "Loretta,") accompanied the vocal pieces substituted on the occasion of encores. The audience was the most numerous and brilliant we have ever seen, the whole of the body and reserved gallery being filled ; and we understand the committee were compelled to refuse numerous applications for extra tickets. The concert of Wednesday was one open to the public. The receipts for this performance must have been considerably upwards of nine hundred pounds. The overture, "Egmont." was exceedingly well played, and warmly applauded. The opening trio, L'usuto ardi," is too frequently performed at these concerts. In the duetto, Sei gia sposa," Mario and Grisi appeared to the greatest advantage, and were warmly encored. Mademoiselle Corbari substituted Donizetti's "O Luce," from "Linda di Chamouni," for the rondo "Non fu sogno," which was announced. Mr. Lindsay Sloper executed Mendelssohn's Rondo in B minor, omitted on Monday, in consequence of the non-arrival of the orchestral accompaniments. Mr. Sloper is a most admirable pianist; his touch is light, firm, and equal, and his style smooth and vigorous. In the charming cavatina from "Betly," "In questo semplice," Alboni drew down torrents of applause, and after a most enthusiastic encore was again called before the audience to acknowledge their continued plaudits. The quintette which closed the first act brought into requisition the admirable orchestra. The second act commenced with Spontini's overture to Fernand Cortez." The orchestra made as much of it as they possibly could. Madame Grisi was encored in the cavatina, "Oh Matutini," and in lieu of it a second time, gave the "Casta diva" from Norma," as she alone can render it, and was again called upon to receive the thanks of the audience. Tamburini executed the aria, "Vieni la mia vendetta," with the spirit of a perfect artist, and on being encored, showed the versatility of his talent by substituting Rossini's "Largo al factotum," the accompaniment to which, by the way, taxed Mr. Sloper to the utmost. "Il mio tesoro," by Mario, was an excellent performance, which the great vocalist surpassed in Beethoven's "Adelaida;" this he gave on being encored. Of the two comic duets by Alboni and Rovere, and Grisi and Tamburini, it would be difficult to say which was best. Signor Rovere's "Baron's song," from " Cenerentola," was admirable. The morceau d'ensemble, "Il Carnivale," was the weakest performance of the evening. - Liverpool Mail, Sept. 18. (The Musical world, Saturday, 25 September 1847) (Also: The Musical world, Saturday, 25 September 1847.)

Tuesday, 14 September 1847 : The Directors's Grand Concert at Concert Hall, Manchester.

CONCERT HALL. - The Directors beg to announce to the Subscribers, that a DRESS CONCERT has been fixed for Tuesday, the 14th September next, for which the following performers have been engaged:- MADAME GRISI, SIGNORA ALBONI, SIGNORA CORBARI, SIGNOR MARIO, SIGNOR ROVERE, and SIGNOR TAMBURINI. Instrumentalist-Mr. LINDSAY SLOPER. GEORGE THORLEY, Secretary. St. James-square, 27th August, 1847. (Manchester Courier and Lancashire General Advertiser, Saturday, 28 August 1847)

CONCERT HALL.-The Directors beg to announce to the Subscribers, that a DRESS CONCERT has been fixed for Tuesday, the 14th September next, for which the following performers have been engaged:- MADAME GRISI SIGNORA ALBONI, SIGNORA CORBARI, SIGNOR MARIO, SIGNOR ROVERE, and SIGNOR TAMBURINI. Instrumentalist - Mr. LINDSAY SLOPER, GEORGE THORLEY, Secretary. at. James-square, 27th August, 1847. (Manchester Courier and Lancashire General Advertiser, Saturday, 11 September 1847) (Also: Manchester Courier and Lancashire General Advertiser, Saturday, 11 September 1847; Manchester Times, Saturday, 11 September 1847.)

MANCHESTER. - A grand concert took place in the Concert Hall on Tuesday evening. The vocalists were Madame Grisi, Signora Alboni, Signora Corbari. Signors Mario, Tamburini, and Rovere ; to this splendid galaxy of vocal talent was added Mr. Lindsay Sloper, the celebrated pianist. Mr. Seymour led and conducted. The concert commenced with Romberg's favourite overture in D, played with spirit. The first vocal piece was the quartett, "Cielo! il mio labro," from Rossini's Bianco e Falero, and was beautifully sung. The next piece was Ricci's Barcarolla, Sulla poppa," which introduced to a Manchester audience, we believe for the first time, Signor Rovere; he sang it with great humour. He has a very full barytone voice, of great power and compass: we think him a valuable addition to the party. Signora Alboni executed Rossini's Cavatina from Semiramide, "In si barbara," to perfection and elicited rapturous applause. She was encored, but instead of repeating it, substituted Donizetti's celebrated song from Lucrezia Borgia, "Il segretto per esser," which was also loudly applauded. Next in order came Tamburini, whose return to our concert room, after so long an absence, was warmly greeted. He sung Rossini's "Il mio piano e preparato," in his usual splendid, copious, masterly way. Then came the gem of the concert, Madame Grisi's "Casta Diva," from Bellini's Norma, in which this admirable vocalist proved that, as yet, her energies are as fresh as ever; indeed for many years she has never sung better than she has the whole of this season; the song was encored amid tumultuous shouts of applause, when she repeated the movement, "Ah bello a me ritorno." Mario then enchanted the audience by singing Beethoven's Adelaida, admirably accompanied on the pianoforte by Mr. Lindsay Sloper. We never heard him in better voice. It was encored, when he sung the serenade from Donizetti's Don Pasquale, "Come gentil," which was loudly applauded. Mr. Lindsay Sloper played a pianoforte solo, accompanied by the orchestra, in which was introduced the favourite air, "The British Grenadier's March," it being the slow and fast movement of Moscheles' fourth concerto; it was played in exceeding fine style. He has a delicate touch, and brings an agreeable tone from the instrument. We will not part from this gentleman without complimenting him on his judicious manner of accompanying the vocal pieces intrusted to his care. The first act closed with the quintett, "Crudele sospetto," from Rossini's La donna del Lago, which was charmingly sung by Grisi, Alboni, Corbari, Mario, and Tamburini. - The second part commenced with the Terzetto, "Ambo movete," from Donizetti's Anna Bolena, sung by Grisi, Mario, and Tamburini. Next came Corbari, whose modest deportment did as much to please the audience as her chaste and pleasing style of singing. She gave a sample of her good taste in the choice of her song - Mozart's "Voi che sapete," which was encored. Grisi and Alboni sung the duet from Rossini's Semiramide, "Ebben a te ferisci," which was rapturously and deservedly applauded. Mario sung the song from Donizetti's opera, La Favorite ; he sang it with great pathos, and was encored. Grisi then sang "Oh, mattutini albori," from La donna del Lago, with a simplicity and clearness equal to her most palmy days of glory. The Buffo Duo, from Cimarosa's Il Matrimonio, was sung by Tamborini and Rovere with great humour, and by its vivacity enlivened a concert conspicuous for interest in every part, and as far as the principals were concerned almost faultless. Indeed in speaking of such the critic loses his vocation, for he can only praise. The only song we have now to mention is Alboni's Tyrolienne, "In questo semplice modesto asilo," which has all the national quaintness of the Tyrol music; it was charmingly sung, and encored. The vocal part of the concert closed with Rossini's Sestetto (Il Carnavale), and the audience, we may say, were played out to the music of Herold's overture, "Pre aux clercs." In conclusion we may add, that it proved one of the best we have had in this hall for many years; and, that the subscribers fully anticipated its being so was evident from the crowded and brilliant audience who assembled for the gratification of hearing such an array of musical talent as is very seldom afforded at any single concert. As an illustration of the lively interest it excited, we may mention that two guineas were repeatedly offered by parties who wanted tickets; and before the commencement of the concert the saloon was occupied by many ladies and gentlemen (several of whom had come long distances), who had come in the forlorn expectation of obtaining the means of entree at the last moment. - Manchester Courier, Sept. 21. (The Musical world, Saturday, 25 September 1847) (Also: The Musical world, Saturday, 25 September 1847.)

Tuesday, 14 September 1847 : Liverpool Philharmonic Society's Two Grand Full-Dress Concerts at Lecture-Hall, The Collegiate Institution, Liverpool.

LIVERPOOL PHILHARMONIC SOCIETY. The COMMITTEE beg to announce to the MEMBERS and SUBSCRIBERS that they have made arrangements to give TWO GRAND FULL-DRESS CONCERTS, - In the LECTURE-HALL of the COLLEGIATE INSTITUTION, on the 13th and 14th of September next, and for which the following eminent Artistes are already engaged:- Madame GRISI. Signor TAMBURINI, Signora ALBONI. Signor ROVERE, Signora CORBARI, Signor MARIO, and Mr. LINDSAY SLOPER. The FIRST CONCERT will take place on Monday, the 13th of September. and will form one of the Society's GRAND DRESS CONCERTS for which the Members and Subscribers will receive their Subscription Tickets. with the Usual privilege of purchasing a limited number of Extra Tickets at 7s each. The SECOND CONCERT will take place on Wednesday the 15th September, and will be by SPECIAL SUBSCRIPTION, under the following arrangements:- Members and Subscribers alone shall have the privilege of purchasing any number of Tickets up to one week previous to the concert, viz on or before Wednesday, the 8th September on the following terms. (Such Tickets to be Transferable to ladies, Strangers, and Resident Gentlemen, the Rules of the Society being suspended for this occasion in favour of the latter.) To the body of the Hall and First Gallery… .7s. 6d. each. To the Upper Gallery 5s 6d. each. Such Tickets as shall then remain undisposed will be issued to Subscribers and the Public. on the following terms - To the Body of the Hall and First Gallery 10s 6d. each. To the Upper Gallery 7s. 6d. each. The Subscription for the Second Concert is now open at the Office of the Society, Exchange-court, Exchange street East; and no Tickets will be Issued unless paid for at the time of subscribing. Half yearly Subscriptions will be received as usual. By order, W. M. SUDLOW, Honorary secretary. Committee-Room, August 9th, 1847. (Liverpool Mercury, Friday, 20 August 1847) (Also: Liverpool Mail, Saturday, 28 August 1847; Liverpool Mail, Saturday, 4 September 1847.)

GRAND CONCERT. THE Public are informed that a GRAND FULL DRESS CONCERT will be given in the Lecture Hall of the Collegiate Institution, on the Evening of Wednesday next, the 15th instant. PRINCIPAL VOCALISTS. MADAME GRISI, SIGNORA ALBONI, SIGNORA CORBARI, SIGNOR MARIO, SIGNOR TAMBURINI, SIGNOR ROVERE. piano-forte. Mr. LINDSAY SLOPER. Leader - Mr. H. F. Aldridge. Organist-Mr. H. Mathews, Director - Mr. .[?] Herrmann. And the full Orchestra of the Liverpool Philharmonic Society. PROGRAMME. PART FIRST. Overture. Egmont.- Beethoven. Terzetto-Corbari, Alboni and ' Sem tram iJe. Aria-Mario-" II mio Cavatina-Grisi-"Mattr Duo-Mario and Tamburini Rondo- Corbari-" Tyrolienne-Alboni, Quintetto-Grisi, Air Crudele* ardir."- -Don Giovanni. atUinni." -La Donna del Lago. .iiarn iiarn I Marinari."- Rossini. fu Sogno."- I Lombardi. In questo semplice."- Betly. Alboni, Corbari, Mario, and Tamburini.- sospetto." -La Donna del Lago. PART SECOND. Overture -Fernand de Cortez Spontini. Deo-Alboni and Rovere-" Ai Capricci."- L'Italiana in Algieri. Aria -Tamburini-" Viene la inia Vendetta."- Lucrezia Borgia. Duo-Grisi and Mario-" Sei gia Sposa."-La Donna del Lago. Barcarole-Revere-" Sulla Poppa." -Rv ci Deo Buffo -Grisi and Tamburini-" guardate che figura."- (Jugliemo. Finale Coro-Grisi, Alboni, Corbari, Mario Rovere, and Tamburini-" II Carnavale."- Rossini. Tickets to be had only at the Office of of the Philharmonic Society, Exchange-court, Exchange-street East. To the Body of the Hall and First Gallery 10s. 6d. each. To the Upper Gallery 7s. 6d. " No money will taken at the doors. The Doors will be opened at Seven and the Concert will commence at Quarter before Eight precisely. (Liverpool Mail, Saturday, 11 September 1847)

PHILHARMONIC SOCIETY. The extra full dress concert given by this society, in order to afford the public generally an opportunity of hearing the principal singers of the Italian Opera, took place on Wednesday night, when the Lecture-hall of the Collegiate Institution was again occupied by a crowded and fashionable audience, who were abundantly gratified by the efforts of Grisi, Alboni, Corbari, Mario, Tamburini, and Rovere. The selection of pieces for performance was hardly so exciting as that of Monday night ; but the encores elicited by the delightful singers, especially in the second part, induced such an introduction of favourite songs not named in the programme as to render the evening one of very high enjoyment. In opening the first portion of the concert, the excellent orchestra. for such it is, performed Beethoven's overture to "D'Egmont,' which did not arrest very particular attention; but in the second opening, Spontini's overture to Fernando Cortes was given in brilliant style. It is decidedly military and spirit-stirring in it character ; but in its crescendos and diminuendos, and its occasionally sweet pianissimos, all the instrumentation of the composition has full range for its best effects, and they are various and good. It anything were wanting, it was a slow or minor movement to relieve the, perhaps, too uniform liveliness of the whole. Of the singers, on whose merits we so fully remarked on Tuesday, we can say little that is new, in reference to this concert. Mario, in all his scale, except the sweetest and highest part, was delicious as ever: in the latter, only, he was slightly veiled, as from the effect of a scarcely perceptible cold. In the duetto from " La Donna del Lago," the passage " Quali accenti!" and the finale " Cielo ! in qua estasi," (sung with Grisi,) were perfect specimens of vocal music in its best toned harmony. Grisi was in better voice, and, we thought, in more buoyant spirits than on Monday: she was, indeed, the Grisi of her Majesty's Theatre, and after the pathetic "Oh mattutini alberi," from La Donna del Lago, in which her sweet tones ravished the listening sense, her execution of Casta Diva (as an encore) afforded all her extraordinary powers the most unlimited scope, and called forth a burst of enthusiastic applause. Alboni was as great as ever-warbling, carolling, (and yodeling, as in the " Tra, la, la," of Donizetti's " In questo semplice,") and winning golden opinions from all who heard her. She has a splendid career of increasing popularity to run. Mdlle. Corbari, of whom we had not the opportunity of speaking in Tuesday's paper, is a sweet and very agreeable singer, somewhat more in the English style than is usual with Italian singers, and is likely to establish herself as a general favourite. Rovere was in excellent voice, which he displayed to more advantage than on the previous evening; and Tamburini "covered himself with glory" on the present occasion, especially in the comic, scolding taunting, mocking, quarrelling duetto with Grisi-" Oh guardate che figura," by Guglielmo, in which not only his natural voice, but his falsetto, in imitating the bravura of his fair tormentor, excited unbounded delight. During the evening Mr. Lindsay Sloper performed a Rondo, by Mendelssohn, in B minor, in a chaste and elegant style, by no means, however, eclipsing his own general merits as an accompanyist to vocal performers, in which capacity he takes a first rank. Upon the whole, the two concerts of the week have shed lustre upon the taste, the enterprise, and the industry of our townsmen of the Philharmonic Society, who well deserve the public approbation for their labours. This first experiment of an extra concert has, we trust, been so successful as to secure for the public similar enjoyment on future occasions. (Liverpool Mercury, Friday, 17 September 1847)

THE PHILHARMONIC CONCERTS, The Philharmonic Society has this week given the two most brilliant concerts ever heard in Liverpool. I do not hesitate to say that, not even at a festival, have we ever had a greater army of vocal talent than the combination. The selections were made with admirable taste, with the great artists performing the pieces in which they have been most successful during the operatic season. overtures to "Anacreon" and the di i were on Monday excellently performed by the orchestra, Messrs. Herrmann and H. F. Aldridge. The vocal pieces commenced with the terzetto from Anna Bolena,' "Amlin I moucte," by Grisi, Mario and Tamburini. Tamburini's organ may, perhaps, have deteriorated in quality slightly -, but his style and facility of execution are admirable as ever. Signor Rovere is excellent ; his Madamina I have not heard surpassed Mademoiselle Alboni showed her truly astonishing powers in Rossini's "Uim j voce." In addition to the most charming contralto voice we ever heard, she has the compass and flexibility of a soprano, and an almost unequalled finish and her cadenzas. She was loudly encored, but instead of repeating the cavatina, to the great delight of the audience, substituted the drinking song "II Segreto" from Lucrezia." ; the cavatina from Puritani." the corui made an unfortunate mistake. The quartette, "tc, cara," was encored with rapture, aud its substitute. " Com*' gentil,' was greeted with hearty burst of applause. In both, Mario proved himself the tenor of the day. Madlle. Corbari's Vui che was a delicious piece of vocalisation. and was deservedly encored; as was Mario in the aria, " j gentil," which, the way, he gave in the original (Angesipui). The comic duetto between [?] and j Rovere was a great treat, but we cannot say so much for the Coro pastorale" which followed. It is an indifferent composition, and, singular to say, was really not well performed. Messrs. Lindsay Sloper, and Lavenu, (the composer of ; " Loretta,") accompanied the vocal pieces … substituted Use occasion of encores. The audience was the most numerous and brilliant I have ever seen, the whole of the body and reserved gallery being filled; and we understand the committee were compelled to refuse numerous applications for extra tickets. The concert of Wednesday, one open to the public, on terms advertised by the committee, giving, for for a limited time, a slight advantage the members and regular subscribers of the society. Being the first experiment of the kind the committee have tried, we must congratulate them upon the result, and trust it may induce them to give extra conceits after each dress one of the season. We imagine the receipts for this performance must have been considerably upwards of six hundred pounds The opening overture, "Egmont" ranks very high as an instrumental composition, and is, more over a piece of considerable difficulty : it was exceedingly well played, and warmly applauded. The opening trio, L'usato ardir," too frequently performed at these concerts, -once year would be quite sufficient, if its merits, as composition, were greater. In the duetto "Sei giu sposa," Mario and appeared to the great'st advantage, and were warmly encored. Mademoiselle Corbari substituted Donizetti's "I Luce," from Linda Chamouni, for the rondo "Non fu sogno," was announced. regretted that there should have been any deviation from the printed scheme ; the management has hitherto been very firm in preventing anything of the kind, and trust they will continue to be so, and not allow evil gain ground which has become common in London, so that at the majority of the concerts given a programme is literally useless, Mdlle Corballi, nevertheless, sung the solo exquisitely, and received hearty encore for her exertions. The duet, "I Marinari," although executed by such artists as Mario and Tamburini, failed to make impression. Mr. Lindsay Sloper executed Mendelsohn's Rondo in minor, omitted Monday, consequence of the non-arrival of the orchestral accompaniments. Mr. Sloper is a good but by no means great pianist; his touch is light, firm, and equal, and his style smooth and occasionally vigorous. In the charming cavatina from Betly " In questo semplice," Alboni drew down torrents of applause, and after a most enthusiastic encore was again called before the audience to acknowledge their continued plaudits The quintette which closed the first act brought into requisition the admirable orchestra of the society which had been idle during the part, excepting in the opening trio and the piano-forte solo. We are of opinion that it would be advisable, in the highest degree, to have on the occasion of combinations such as the present, the conductor who is in the habit of directing the vocalists; if one thing was wanting at these splendid concerts, it was the presence of Signor Costa with his baton. The second act commenced with Spontini's overture Fernand Cortez." If Spontini ever wrote a good overture, (a fact we doubt), assuredly this is not the one. The orchestra made as much of it as they could. Madame Grisi was encored in the cavatina, Mattutini," and in lieu of it a second time, gave the "Casta diva," from Norma as she alone can render it, and was again called upon to receive the thanks of the audience. Tamburini executed the aria, " Vieni la vendetta," with the spirit of a perfect artist, and being encored, showed the versatility of his talent substituting Rossini's "Largo al factotum," the accompaniment to which, by the way, taxed Mr. [?] to the utmost. "mio tresora," by Mario was an excellent performance, which the great vocalist surpassed in Beethoven's "Adelaida;" this he gave being encored. Of the two comic duets hy Alboni and Rovere, and Grisi and Tamburini. it would be difficult to say which was best. Signor Rovere's Baron's song." from Cenerentola," was a lma-able. The morceau d'ensemble, "Carnivale" was the weakest performance of the evening. (Liverpool Mail, Saturday, 18 September 1847)

Friday, 17 September 1847 : Mr. Stimpson's First Annual Benefit Concert at Town Hall, Birmingham.

RARE MUSICAL ATTRACTION. THE MOST CELEBRATED PERFORMERS OF THE ROYAL OPERATIC CORPS. TOWN HALL, BIRMINGHAM. MR STIMPSON respectfully solicits the patronage of the Nobility, Gentry, and Public in general of Birmingham and its vicinity, for his FIRST ANNUAL BENEFIT CONCERT WHICH will take PLACE in the town hall On FRIDAY EVENING, the 17th of September inst., AT WHICH THE FOLLOWING EMINENT VOCALISTS WILL APPEAR:- MADEMOISELLE ALBONI, The great attraction of the Royal Italian Opera, London ; MADEMOISELLE CORBARI, Prima Donna of the Royal Italian Opera, London; SIGNOR ROVERE, Primo Basso Comico of the Royal Italian Opera, London and HERR STAUDIGL, Primo Basso of her Majesty's Theatre, London. TO ADD TO THESE GREAT ATTRACTIONS, MR. STIMPSON HAS ALSO ENGAGED MR. LINDSAY SLOPER, The most eminent Pianist of the present day. Reserved Seats in the Galleries, 7s. 6d. each; Reserved Seats on the Floor, 5s. each; Unreserved Tickets, 2s. 6d. each; are now ready, and may be had of the principal Music-sellers. The Plans are at Mr. Tolkien's Music Warehouse, New-street, Birmingham, where Reserved Seats may be secured. (Birmingham Gazette, Monday, 6 September 1847) (Also: Birmingham Gazette, Monday, 13 September 1847.)

Saturday, 18 September 1847 : Grand Concert at Royal Music Hall, Leamington.

ROYAL MUSIC HALL, LEAMINGTON. GRAND CONCERT. On Saturday Morning, September 18, 1847, A SELECTION OF POPULAR VOCAL AND INSTRUMENTAL PIECES, In which the following Eminent Performers will appear. VOCALISTS. MADEMOISELLE ALBONI, (Primo Contralto, from the Royal Italian Opera, London,) MADEMOISELLE CORBARI, (Prima Donna from the Royal Italian Opera, London,) SIGNOR ROVERE, (Primo Basso Comico from the Royal Italian Opera, London) INSTRUMENTALIST. MR. LINDSAY SLOPER, SOLO PIANIST. FULL PARTICULARS IN PROGRAMMES. (Leamington Spa Courier, Saturday, 4 September 1847)

Grand Concert.- We beg to draw the attention of our fashionable readers to the advertisement which announces a Musical treat of the highest order, the performers being well known favourites at the Royal Italian Opera in London, who have received nothing but praises from the pen of every critic throughout the past season. Byron has made Manfred wish himself "The viewless spirit of a lovely sound, A living voice, a breathing harmony, A bodiless enjoyment-born and dying With the blest tone that made me ! " And the English people would have but an imperfect notion of anything of the kind, but for the Italians. One of our contemporaries, speaking of Alboni, says-"We know not what sensation prevails upon hearing her, for she excites as it were feelings entirely new. We are divided between delight and surprise-at once charmed by the melody of her voice, and astonished at its rare quality--its tone, and depth, and fulness-its execution and capacity ; and yet delighted with the gush of music that the, greedy ear, devours with never tiring appetite. Alboni seems made for suits of velvets and pearls. While Lind would fascinate and enrapture, and Grisi would delight and overpower, Alboni would enslave without an effort. Her voice is not Ariel's ;it comes not from the spheres, but rises, one would think, from the waters with its liquid gushing notes about it. She is a wonderful songstress." Mdlle. Corbari has been pronounced by eminent judges a superb singer, whose appearance has always been hailed with fervent applause. Of Signor Rovere we find it said in the Musical World- " He is a capital Buffo ; the parts he undertakes would, a priori, seem almost fatal to a singer who should attempt them in this country after Lablache; but Signor Rovere plays and sings them so well as entirely to do away with any ungenerous comparisons. He is particularly excellent in all those rapid passages which require clear articulation, no less than steady vocalism." Of Mr. Lindsay Sloper it will be sufficient for us to transcribe the following notice from the same publication, with reference to his debut in England at a concert given by H.R.H. the Duke of Cambridge : -"Lindsay Sloper has fully established his continental fame, and has placed himself in the foremost rank of our native pianists. The great recommendation of our English school of piano-forte 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 artistes, and, like them, joins to an unaffected style a mechanism as brilliant and perfect as could possibly be desired. His reading of Beethoven's Trio 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, and brilliancy, at command when they were required, and administered them judiciously. (Leamington Spa Courier, Saturday, 11 September 1847)

THIS DAY. ROYAL MUSIC HALL, LEAMINGTON. GRAND CONCERT. On Saturday Morning, September 18, 1847, A SELECTION OF POPULAR vocal and Instrumental Pieces. In which the following Eminent Performers will appear. VOCALISTS. MADEMOISELLE ALBONI, (Prima Contralto, from the Royal Italian Opera, London,) MADEMOISELLE CORBARI, (Prima Donna from the Royal Italian Opera, London), SIGNOR ROVERE, (Primo Basso Comico from the Royal Italian Opera, London) INSTRUMENTALIST. MR. LINDSAY SLOPER, SOLO PIANIST. FULL PARTICULARS IN PROGRAMMES. A New Patent Repeater Bichorda Grand Piano Forte, of 6¾ octaves, from the Manufactory of Messrs. Collard, of London, will be supplied for this occasion from Mr. Owen's Establishment, 20, Lower Parade, and will be for sale, after the Concert. The Concert will commence precisely at Two o'Clock. Single Tickets, 7s. each ; Family Tickets, to admit Four, 24s. each, may be had at the Music Shops of Mr. Owen, Mr. Elston, and Mr. M'Carroll, in the Lower Parade ; at Mr. Reeve's Subscription Library and Reading Room, Upper Parade; and of Mr. Enoch, at the Rooms. -Reserved Seats, 10s. 6d. each; to be secured only by application at Enoch's Library, where a Plan lies for inspection. (Leamington Spa Courier, Saturday, 18 September 1847)

of our Morning Concert.-It is needless, we suppose, to direct attention to the musical treat which is advertised for to-day,-the names of Alboni, Corbari, Rovere, and Lindsay Sloper, being in themselves amply sufficient to command an audience overflowing in numbers, and standing high in the ranks of fashion. (Leamington Spa Courier, Saturday, 18 September 1847)

Morning Concert. -There was a very brilliant assemblage at the Music Hall on Saturday afternoon, the exciting event of the entertainment announced in our last, being the appearance of Mademoiselle Alboni, who equally astonished and delighted her audience. It would be absurd to attempt any criticism of the vocal excellence of an artist of such unparalleled ability as Alboni, who has made her way to fame unaided by any of those appliances which, as regard the pretensions of others, have been so signally successful. We may remark, however, that the power, fullness, and compass of her organ, were all points which told with a company at once fashionable and discriminating, who momentarily perceived that as a musician she was inferior to no contemporaneous spirit-that her rich and full vocalization had attained perfection-that her enunciation was distinct and emphatic, and her ornament, though not exuberant, chaste and appropriate." Mdlle. Corbari gave graceful proofs of possessing a sweet and well-cultivated soprano voice; and Mr. Lindsay Sloper sustained his high reputation as a solo pianist and accompanyist of considerable eminence. The following anecdote of Mdlle. Alboni affords an additional proof how hard it is even for true genius to force itself into public notice:-" On passing through Venice some time before her triumphant debut on the stage of La Scala, she was desirous of making a trial of her vocal skill at the Theatre la Venice. The impresario, or manager, to whom she was unknown, gruffly refused her even a hearing. There was in Venice at the time quite a little theatre, in a completely dilapidated state, which served as the asylum for a company of strolling players. Alboni proposed to the chief of this troupe to put the theatre into a state of repair, at her own expense, and to divide with him the receipts of her performances. This offer as might easily be supposed was joyfully accepted. In a few days the interior of the house was re-embellished; Alboni appeared, charmed the audience, and on the second performance the house was crammed full. At the end of the month the artiste and the manager divided between them 40,000 francs," (about £1,000 sterling.) (Leamington Spa Courier, Saturday, 25 September 1847)

Monday, 20 September 1847 : Mr. Mason's Concert at Newcastle-Under-Lyne.

UNDER DISTINGUISHED PATRONAGE. MR. MASON, Jun., Member of the Royal Academy of Music, London, has the honour to announce that his GRAND CONCERT Will take place on MONDAY EVENING, Sept. 20th, 1847. VOCALISTS: MADEMOISELLE ALBONI, (Primo Contralto from the Italian Opera, London.) the Royal Italian Opera, London.) MADEMOISELLE CORBARI, (Primo Donna from the Royal Italian Opera, London.) SIGNOR ROVERE, (Primo Basso Comico from the Royal Italian Opera, London.) INSTRUMENTALIST: MR. LINDSAY SLOPER, Solo Pianist. Mr. MASON Jun. Notwithstanding the great expense incurred in the engagement of Mademoiselle Alboni, Mr Mason, Jun., has determined to offer the public an opportunity of hearing her wonderful powers at the lowest possible prices of admission. Admission.-Reserved Boxes, 7s. 6d.; Unreserved ditto, 5s.; Pit Stalls, 3s.: Gallery, 1s. 6d. Books, with English translations of the Vocal Pieces, 6d. Programmes and Tickets to be had at the Music and Booksellers. Reserved Seats on application to Mr. MASON, Brunswick-street, Newcastle. Early application is respectfully requested. Doors open at seven o'clock, and to commence at eight precisely (Staffordshire Advertiser, Saturday, 4 September 1847) (Also: Staffordshire Advertiser, Saturday, 11 September 1847; Staffordshire Advertiser, Saturday, 11 September 1847.)

ON MONDAY NEXT. MASON, Jun., Member of the Royal Academy of Music, London, has the honour to announce that MONDAY EVENING, Sept. 20th, 1847. VOCALISTS: MADEMOISELLE ALBONI, (Primo Contralto from the Italian Opera, London.) the Royal Italian Opera, London.) MADEMOISELLE CORBARI, (Primo Donna from the Royal Italian Opera, London.) SIGNOR ROVERE, (Primo Basso Comico from the Royal Italian Opera, London.) INSTRUMENTALIST: MR. LINDSAY SLOPER, Solo Pianist. Mr. MASON Jun. Notwithstanding the great expense incurred in the engagement of Mademoiselle Alboni, Mr Mason, Jun., has determined to offer the public an opportunity of hearing her wonderful powers at the lowest possible prices of admission. Admission.-Reserved Boxes, 7s. 6d.; Unreserved ditto, 5s.; Pit Stalls, 3s.: Gallery, 1s. 6d. Books, with English translations of the Vocal Pieces, 6d. Programmes and Tickets to be had at the Music and Booksellers. Reserved Seats on application to Mr. MASON, Brunswick-street, Newcastle. Early application is respectfully requested. Doors open at seven o'clock, and to commence at eight precisely (Staffordshire Advertiser, Saturday, 18 September 1847) (Also: Staffordshire Advertiser, Saturday, 18 September 1847.)

MR. MASON'S CONCERT, NEWCASTLE, MONDAY NEXT. -The lovers of music, in this neighbourhood, have a rich treat in store for them at this-Concert. Of Mademoiselle Alboni, but one opinion exists-she is one of the greatest vocalists in Europe. The Musical World, of August 25st, 1847, makes the following observations on her performance - little was known in England this lady before her appearance, that could learn nothing of her but what was vague and unsatisfactory. In our article in the Musical World of February the 6th, descanting on the prospectus issued by the Royal Italian Opera, made mention of her thus:- Alboni, who is the only Simon in the catalogue soit of floating reputation that oozes from time to time out of the adeposity of Italian Carnivals, whether deserved or not, cannot pretend to determine.' So little did the public think of Signora Alboni, that when she came on the first night as Arsace, they received her with the utmost indifference, looking upon her with about as little interest as upon any individual in the chorus. But she had not sung three bars of her opening recitative before she rivetted the attention of the whole house. The wondrous beauty and purity of her tones went right home, instantaneously, every heart. the end of the recitative the audience were excited to an absolute furore, and Alboni was established in the public mind as a great singer, and for ever. Great was Alboni's success on the first night, it was only a foundation for repeated triumphs during the rest of the season. every new part in which she has appeared, she has obtained addition to her reputation. contrast here naturally suggests itself with a popular singer belonging to the rival establishment, which we cannot resist setting forth. The antipodes present a greater contrast than is afforded Jenny Lind and Alboni, whether it he in their persons, their talents, or their fortunes. The one came to Loudon heralded by such name as artiste ever possessed before; the other came almost unknown, and certainly unreported. Jenny Lind's voice, though beautiful, is not faultless: Alboni's, beautiful in another style, is without a flaw." Of Signor Rovere, the Athenium observes:- He is capital buffo-comical, restless, intrusive, cowardly to a wish, without that extravagance which Italy endureth, but England endureth not -and excellent in all those rapid syllabic passages which require clear articulation, less than steady vocalism. Mademoiselle Corbari and Mr. Lindsay Sloper rank high in their profession; the pianoforte playing of the latter pronounced classical and perfect. The selection of … [Abridged] (Staffordshire Advertiser, Saturday, 18 September 1847) (Also: Staffordshire Advertiser, Saturday, 18 September 1847.)

MR. MASON'S CONCERT. We are glad to be able to record that Mr. Mason opened the musical campaign in Newcastle excellently well, on Monday evening last, by a concert in the theatre. The performers were Alboni (formerly of La Scala,) Mademoiselle Corbari, and Signor Rovere, all from the Royal Italian Opera, London, and Mr. Lindsay Sloper, the celebrated pianist. With a company so distinguished, our expectations were of course large, and our satisfaction was even greater than the celebrity of the artists had led us to calculate upon. Alboni, fat, fair, and decidedly not forty, is a host in herself. Her superb contralto voice, of immense power and extent, commencing in bold barytone notes and extending to beautiful and lofty soprano-three voices in one-renders her a most useful auxiliary in a miscellaneous concert where the number of performers is small, since we have all the variety of effects which can be expected from several ordinary singers, with a richness and delicacy of intonation to which no ordinary singer can lay claim. And the only regret in this case is that she had not theatre sufficiently large to give full scope to her magnificent organ. The two airs assigned to this excellent songstress were Rossini's u Una voce poco fa, from II Barbiere . di Siviglia, which she sang with a vigour and grace combined that were quite irresistible. In the latter especially the enthusiasm was very great: the characteristic tra fa, at the end completely carried the gods by storm, and will no doubt be repeated many a time with equal vigour, if not with equal skill. Mademoiselle Corbari has established her reputation during the last season in London, as a highly accomplished and pleasing soprano, and nothing could be more delightful than the sweet and graceful manner in which she rendered the parts allotted to her on Monday evening. Italian singers seem chiefly cultivate volume of tone, massive effects, and those grand displays of physical energy which so often electrify their audiences. It is therefore all the more pleasant to meet with one who, like Mademoiselle Corbari, seeks to enchant us by the tenderness and delicacy of expression which find their way to English hearts, and, if they astonish us less and, if they astonish us less, delight us more. In the opening terzette from Semiramide she did not appear to advantage as, labouring apparently under the effects of cold, she was unable to sing the whole of her part, and somewhat alarmed us as to the probable fate of her share in the programme . In the Romanza from II Nozze di Figaro, however, she was in good voice, at home, and fully equal to the beautiful air, which she gave in delightful manner. The advantage thus gained she kept during the evening, increasing in vigour, and exquisite finish, and is universal favorite. M. Rovere is a decidedly good, bold, and effective buffo singer, who enters into the humour of his part without over acting it, and is not likely to be out of favor with the public for a long time to come. He sang the Aria from La Cenerentola, and the well known Non piu andrai from Le di Figaro, with great spirit ami effect; but was most admired in two duettos: : one from L'Italian in Algieri, the other from Donizetti's L Elisir d'Amore. In the. former, he proved himself an excellent an excellent Taddeo to Alboni's Isabella, and in both, the singing was good, the bye-play admirable, and the drollery exquisite. have not space to enter into more minute examination of the programme, nor the manner it was treated. But ought to say that Mr. Lindsay Sloper accompanied the vocalists with great modesty, taste, and precision, and played two solos on the piano-forte in manner which for dexterity and brilliancy of execution left nothing to be desired. The duet played Messrs. Sloper and Mason was perfect gem, and the latter gentleman did not suffer by a comparison with his powerful rival, the whole, we were very much pleased with this concert, and sincerely hope that the result, a pecuniary point of view was such as to encourage Mr. Mason in his laudable endeavours to gratify his friends and neighbours. (Staffordshire Advertiser, Saturday, 25 September 1847) (Also: Staffordshire Advertiser, Saturday, 25 September 1847.)

Tuesday, 21 September 1847 : Mr. H. Haywards's Concert at Wolverhampton.

MR. H. HAYWARD has the honor to announce to the nobility, gentry, and inhabitants generally of Wolverhampton and the neighbourhood, that he will give A GRAND CONCERT, IN THE THEATRE, WOLVERHAMPTON, On TUESDAY EVENING, September 21st, 1847, for which he has engaged the following celebrated Artists from the Royal Italian Opera:- MADEMOISELLE ALBONI, PRIMO CONTRALTO, Who has created such an immense furore at the Royal Italian Opera this season; MDLLE. CORBARI, Soprano; SIGNOR ROVERE, Primo Basso ; and … MR. LINDSAY SLOPER, The eminent Pianist, who will perform a Concerto, and a Duet with Mr. H. Hayward. Violin, Mr. H. HAYWARD. S. D. Lower … [Abridged] (Staffordshire Advertiser, Saturday, 4 September 1847)

MESDEMOISELLES ALBONI AND CORBARI, and SIG. ROVERE, accompanied by Mr. Lindsay Sloper, have been giving concerts this week at Derby, Hull, Leeds, Newcastle-on-Tyne, Carlisle, and Kendal. On Monday, 13th, they will give a grand Concert at Liverpool; on Tuesday ditto, at Manchester ; on Wednesday, they will again appear at Liverpool ; on Thursday, they go to Shrewsbury ; on Friday, to Birmingham; and on Saturday to Leamington. In the week following, on the 20th, the same party will give a concert at Newcastle-under-Line, and at Wolverhampton ditto on the 21st. Alboni appears at Gloucester during the Festival, on the 22nd and 23rd; and on the 24th the same party above-named, sine Rovere, who departs for Italy, will give a concert at Reading, and another at Brighton on the 25th. (The Musical world, Saturday, 11 September 1847)

H. HAYWARD has the honour to announce to the Nobility, Gentry, and Inhabitants generally of Wolverhampton and neighbourhood, that he will give A GRAND CONCERT THEATRE, WOLVERHAMPTON, On TUESDAY EVENING, Sept. 21st, 1847, For which he has engaged the following celebrated Artists from the Royal Italian Opera,- MADEMOISELLE ALBONI, Primo Contralto, Who has created such an immense furore at the Royal Italian Opera this season; MDLLE. CORBARI, Soprano; SIGNOR ROVERE, Primo Basso ; and … MR. LINDSAY SLOPER, The eminent Pianist, who will perform a Concerto, and a Duet with Mr. H. Hayward. Violin, Mr. H. HAYWARD. S. D. Lower … [Abridged] (Staffordshire Advertiser, Saturday, 18 September 1847) (Also: Staffordshire Advertiser, Saturday, 18 September 1847.)

Thursday, 23 September 1847 : The Gloucester Musical Festival's Third (And Last) Evening Concert.

THE GLOUCESTER MUSICAL FESTIVAL. TO DESMOND RYAN, ESQ. Gloucester, Sunday, Sept. 26th, 1847. DEAR RYAN, - My last was cut short by the anticipation of an immediate ascent to the top of Gloucester Cathedral. But I did not go, and might have got to the end of my letter without interruption. The reason of my non-ascent I have forgotten. Therefore, without further preface, let me pursue the main subject of the present communication - the Festival. To begin at the end - there has not been for many years a meeting which has given so much satisfaction and proved so light a burden on the shoulders of the stewards, who do not like paying through the nose, gentlemen though they be. But to return to the beginning - I have already furnished you with an account of the first day's proceedings, and the following are the remaining contents of my common-place book … Equally brief shall I be with the concert in the evening-- the third and last of which the following was the scheme : PART 1. Overture -(Guillaume Tell), Rossini. Glee - Miss M. Williams, Mr. Lockey, Mr. Williams, and Mr. Weiss, "By Celia's arbour."-Horsley. Aria - Madame Caradori Allan, "Il soave, e bel contento." -- Paccini. Air - Herr Staudigl, "In diesen heiligen Hallén." - Mozart. Aria - Madlle. Alboni, "Una voce poco" (Barbiere di Siviglia.) - Rossini. Glee and Chorus - Miss A. Williams, Mrs. Weiss, Miss E. Byers, Miss Dolby, Miss M. Williams, Mr. Lockey, Mr. Williams, Mr. Peck, Mr. Morgan, Mr. Weiss, Mr. Smythson, Mr. Green, and Herr Staudigl, "The Gipsies' Tent," T. Cooke. Romance Francaise - Madame Caradori Allan, "On m'a dit que j'étais rieuse." -(La Fauvette du Canton) - Clapisson. Air - Mr. Weiss, "The light of other days." Balfe. Duet - Miss A. Williams and Mr. Lockey, "Do not shun me," (Jessonda) Spohr. Terzettino - Madame Caradori Allan, Madlle. Alboni, and Herr Staudigl, "L'usata ardir," - (Semiramide) - Rossini. New Song - Mr. John Parry, "Miss Harriet and her Governess ; or, a Young Lady's Thoughts on Education." Written by Mr. J. W. Roe, arranged by John Parry. PART II. Grand Symphony - (B flat) - Beethoven. Cavatina - Madlle. Alboni, "In questo semplice," Donizetti. Song -Herr Staudigl, " Non piu andrai," (Le Nozze di Figaro)- Mozart. Ballad - Miss Dolby, "Forget thee," - G. E. Hay. Recitativo and Aria - Madame Caradori Allan, "Invano alcun desir." Armida) - Gluck. Glee - Miss A. Williams, Miss M. Williams, Miss Dolby, Mr. Lockey, and Mr. Weiss, "Believe me, tears." - Sir H. R. Bishop. Ballad - Mrs. Weiss "It is not form." - (The Bondman) - Balfe. Duetto - Madame Caradori Allan and Madlle. Alboni, "Giorno d'orrore." - (Semiramide) - Rossini. New Ballad - Mr. Lockey, "Come down here," - Blewitt. Finale - "God save the Queen." Alboni triumphed again, was encored in both her songs, and solicited by a deputation from the stewards to sing yet another - with which solicitation she cheerfully complied; repeating the Bacchanalian from Lucrezia, which had created so great a sensation on the night previous, Here let me make the amende honorable to Mr. Lindsay Sloper, who has been accompanying Alboni on her tour, and there being no orchestral parts at hand, assumed his place at the piano, and played this sparkling song in a style of brilliancy and neatness peculiar to himself. Encores were also awarded to Staudigl in Mozart's fine air; to Mr. T. Cooke's clever glee and chorus ;" to Miss Dolby, in Mr. Hay's ballad; to Madame Caradori in the charming air of Gluck ; and to the duet from Semiramide by Madame Caradori and Mdlle Alboni. An encore was also deserved, though not obtained, by Miss A. Williams and Mr. Lockey, in Spohr's duet. The national anthem was not encored ; but John Parry's new song - one of excellent humour, by the way - was enthusiastically re-demanded; in response to which John Parry sang another. On the whole this concert was much inferior to the first and second. The only great piece attempted, Beethoven's symphony in B flat, was shorn of the two last movements, and what was given was in a style that may be called slovenly, with strict adherence to truth. Nevertheless, owing to the extraordinary sensation produced by Alboni on the previous night the Shire Hall was crammed to an overflow, and many were sent away disappointed in obtaining tickets. Alboni is the whole theme of Gloucester causerie ; you cannot pass up and down the streets without hearing an earnest discussion of her merits in almost every corner, nor can you approach a house where there is a piano, without hearing some young lady endeavouring to emulate the fervour and intensity of her Yah-e-oo in the Betly affair, which absolutely fills the atmosphere of the city with strange and unmusical noises, the awkward ebullitions of amateur screamers. I cannot much admire this tyrolien, and I quite agree with a musical friend who observed to me that a Parisian audience would hardly tolerate it even from Alboni. But like the Ethiopian business, it has acquired, in England, the whole favour and sympathy of the mob. This I cannot deny ; but I would rather not hear such a magnificently endowed artiste as Alboni descend to such means of courting popularity. (The Musical world, Saturday, 2 October 1847)

Friday, 24 September 1847 : Royal Italian Opera Company's Grand Concert of Vocal & Instrumental Music at Town Hall, Reading.

MADEMOISELLE ALBONI. THE ROYAL ITALIAN OPERA COMPANY have the honour to announce to the Nobility and Gentry of Reading and its environs that they intend giving a GRAND CONCERT OF VOCAL & INSTRUMENTAL MUSIC, At the TOWN HALL on Friday morning, September 24th, 1847, AT TWO O'CLOCK, When the inimitable vocalist, Mademoiselle ALBONI will make her first appearance, assisted by Mademoiselle CORBARI, Prima Donna of the Royal Italian Opera, London; likewise the eminent Pianist, Mr. LINDSAY SLOPER, and other artistes, whose names will appear next week. (Berkshire Chronicle, Saturday, 11 September 1847)

MADEMOISELLE ALBONI. The royal Italian opera company have the honor to announce to the Nobility and Gentry, of Reading and its environs, that they intend giving a GRAND CONCERT, of VOCAL and INSTRUMENTAL MUSIC, at the TOWN HALL, on FRIDAY, Morning, the 24th Sept., 1847. to commence at 2 o'clock, when the inimitable vocalist, Mlle. ALBONI will make her first appearance, assisted by Madlle. CORBARI, Prima Donna of the Royal Italian Opera, London, Mr. LINDSEY SLOPER, the eminent Pianist, and other artistes, whose names will be announced next week. (Reading Mercury, Saturday, 11 September 1847) (Also: Berkshire Chronicle, Saturday, 11 September 1847.)

MADEMOISELLE ALBONI'S FIRST APPEARANCE IN READING. ROYAL ITALIAN OPERA COMPANY have the honour to announce to the Nobility and Gentry of Reading and its vicinity, their intention of giving a GRAND CONCERT of VOCAL & INSTRUMENTAL MUSIC, At the TOWN HALL, on Friday morning. September 24th, 1847, TO COMMENCE AT TWO O'CLOCK, When the following celebrated Artistes will perform VOCALISTS. MADLLE. ALBONI, (Prima Contralto Royal Italian Opera,) MADLLE. CORBARI, (Prima Donna Royal Italian Opera.) AND M. CORRI, (Late of the Italian Opera.) INSTRUMENTALLISTS. Mr. CARTE, The distinguished Flutist, who will perform favourite Pieces on the newly-invented Bohm Flute, and Mr. LINDSAY SLOPER, The eminent Pianist, who will accompany the Vocal Pieces, and likewise play Two Grand Fantasias on one of Messrs. Erard's New Patent Grand Pianofortes, which will be sent from Town expressly. Single Tickets, 7s. Family Ditto, to admit Four Persons, 24s. Books of the Words, with an English Translation, to be had of Mr. Golding, Friar street, Reading. (Berkshire Chronicle, Saturday, 18 September 1847) (Also: Berkshire Chronicle, Saturday, 18 September 1847; Reading Mercury, Saturday, 18 September 1847.)

Mademoiselle Alboni's Concert.-The concert, of which this lady formed the leading attraction, was given yesterday in our Town Hall. There were nearly 200 persons present, comprising most of the neighbouring county families. The extraordinary and sudden popularity of Mdlle. Alboni was fully justified by her performance, in which it is difficult to say whether the rich quality of her voice, or the exceeding brilliancy of her execution is most conspicuous. In the well known "Una voce" she delighted the audience, and in the Tyrolese air, " In questo simplice," an encore was enthusiastically demanded. The other parts of the concert, which were merely subsidiary, were supported by Madame Corbari and Mr. Corri, Mr. Lindsay Sloper presiding at the pianoforte, and Mr. Carte executing two fantasias on the Boehm flute. (Berkshire Chronicle, Saturday, 25 September 1847) (Also: Berkshire Chronicle, Saturday, 25 September 1847.)

The Concert given by the Italian Opera Company, yesterday (Friday), in the Town-ball, was attended by nearly all the resident families of our neighbourhood, and passed off with the greatest éclat; the wonderful power and sweetness of Mademoiselle Alboni, and the taste and execution of Mademoiselle Corbari, excited universal admiration. The instrumental performers. Mr. Carte and Mr. Lindsay Sloper upon the Flute and Piano, were alike excellent in their respective departments. -The whole of the company appeared highly gratified and delighted with the entertainment which concluded about four o'clock. (Reading Mercury, Saturday, 25 September 1847)

Saturday, 25 September 1847 : Mr. McCarroll's Grand Morning Concert at Town Hall, Brighton.

A grand concert will be given at Brighton on the 25th inst., at which Alboni, Corbari, Lindsay, Sloper, and John Parry will appear. Tickets are at a premium, and all the elite of Brighton and the neighbourhood will be at the concert. (Theatrical journal, Wednesday, 1 September 1847)

PROVINCIAL. (From our own Correspondent) Brighton, on the 3rd instant, was attended by nearly 700 of the elite of that fashionable watering place. Grisi, Mario, and Tamburini sang splendidly, and were repeatedly encored. Mr. Hatton's performance on the pianoforte elicited great applause, as did his singing of Handel's "O! ruddier than the cherry." Mr. M'Carroll will give a second concert on the 25th, for which he has engaged Alboni, Corbari, Mr. Lindsay Sloper, and John Parry. (Theatrical journal, Wednesday, 1 September 1847)

MR. McCARROLL HAS the honour to announce to the Nobility, Gentry, and Inhabitants of Brighton, that he has succeeded in engaging the four distinguished Artists, for A GRAND MORNING CONCERT, on SATURDAY, September 25th, viz.: MADEMOISELLE ALBONI, MDLLE. CORBARI, MR. LINDSAY SLOPER, AND MR. JOHN PARRY. Reserved seats, 10s. 6d.; tickets for the room, 7s.; an early application for reserved seats will oblige. The plan is now ready, and places may be secured at Mr. McCarroll's, Music Libraries, 171, North-street, and 30, King's-road. Doors open at One. Concert to commence at two o'clock. (Sussex Advertiser, Tuesday, 7 September 1847) (Also: Brighton Gazette, Thursday, 16 September 1847; Hampshire/Portsmouth Telegraph, Saturday, 18 September 1847; Hampshire/Portsmouth Telegraph, Saturday, 11 September 1847; Brighton Gazette, Thursday, 9 September 1847.)

BRIGHTON TOWN HALL.- …Mr. M'Carroll, in. his usual spirited style, never allows the admirers of music to rest. The above grand concert is just over, and Jullien's band are engaged by the above gentleman.…He has also announced Mdlle. Alboni, Corbari, Mr. Lindsay Sloper,: and Mr. John Parry, to-appear on the 25th. Thanks to Mr. M'Carroll, there is no dearth of concerts in Brighton. We understand there is as great a demand for tickets for Alboni's concert as there was at Jenny Linds. (The Era, Sunday, 12 September 1847)

A CONCERT will take place at Brighton, on the 25th inst., for which the following performers have been engaged : Mlle. Alboni, Mlle. Corbari, Mr. Lindsay Sloper, and Mr. John Parry. (The Musical world, Saturday, 18 September 1847)

GRAND MORNING CONCERT, on Saturday next, Sept. 25th, MADEMOISELLE ALBONI, MDLLE. CORBARI, MR. LINDSAY SLOPER, AND JOHN PARRY. PROGRAMME, FIRST PART. Duetto-Mdlle. Alboni and Mdlle. Corbari "Di che pianger" (Ugolino) Rossini. Romanza-Mdlle. Corbari-" Voi che sapete" (Le Nozze di Figaro) Mozart, Cavatina- Mdlle. Alboni - "Una voce poco fa" (II Barbiere di Siviglia), Rossini. Grand Fantasia on Popular Airs, Pianoforte - Mr Lindsay Sloper, Lindsay Sloper, Song-Mr John Parry - "The London Season ; or As Captain Clifford says." Arranged by John Parry. PART SECOND. Duo - Mdlle Alboni and Mdlle. Corbari" Ebben, per mia" Rossini. Rondo-Mdlle. Corbari-"Non fa sogno" (Lombardi) Verdi. Tyrolean Air-Mdlle. Alboni- "In questo semplice" (Betly) Donizetti. March D'Isly-Pianoforte-Mr Lindsay Sloper, Leopold de Meyer. New Song-Mr John Parry-" Miss Harriet and her Governess; or, Young Lady's Thoughts on Education." Arranged by John Parry. Reserved seats, 10s 6d ; tickets for the room, 7s. Places may be secured at Mr McCarroll's Music Libraries, 171, North Street and 30, King's Road. Doors open at One. Concert to commence Two o'clock. (Brighton Gazette, Thursday, 23 September 1847)

MUSICAL MEMORANDA. Brighton, Sept. 23 - Mr. M'Carroll's concert this morning was extremely well attended, and the singing of Alboni and John Parry elicited the rapturous applause of the company, who encored them in four songs. Mdlle. Corbari sang very nicely, and Mr. Lindsay Sloper performed most brilliantly on the pianoforte. (Morning Post, Monday, 27 September 1847)

Mademoiselle Alboni.-Mr. M. Carroll, a professor in Brighton, gave a Morning Concert at the Town Hall on Saturday, which was crowded to excess, the attraction being Mdlle. Alboni, who sang Una voce," and the Tyrolean air from Betly," and was encored in both, giving the II Segreto the second time for Una voce." Mdlle. Corbari was encored in the polacca from "Linda;" and John Parry, in both his comic songs. Mr. Lindsay Sloper was the accompanyist. Mdlle. Alboni quitted London yesterday (Friday), for Paris. She has refused engagements offered to her… [Abridged] (Illustrated London News, Saturday, 2 October 1847)

GRAND CONCERT AT THE TOWN HALL, BRIGHTON. Within the last two months we have had the pleasure of hearing in our Town Hall three of the most celebrated female vocalists in the world -" The Swedish Nightingale," Grisi, and last, though by no means least, the clever Alboni. On Saturday last the compass of her fine voice was admirably shown in the well known " Una voce poco fa," which obtained an enthusiastic encore. She did not sing the same air again, but gratified the audience with another, which afforded her listeners equal pleasure. Her powerful contralto was more strikingly manifest in a Tyrolean air, which she gave with a gusto quite unparalleled. Alboni, like Jenny Lind, appears to make the music subservient to her wonderful voice; and hence the ease with which she surmounts the difficulties that composers throw in the way of great singers. A more enthusiastic reception never greeted any singer in our Town Hall than that which greeted Alboni; and we believe we may say, without the slightest' exaggeration, that she left her hearers in perfect ecstasy. Mdlle. Corbari, with whom Alboni sang some duets, is a neat pretty singer; and she acquitted herself so well in a rondo by Verdi as to call forth a warm encore. John Parry was encored in both his songs, although the first was somewhat tediously long, which is most unusual with this inimitable buffo singer. In the last song his imitation of the village bells on the piano was a very extraordinary, and, at the same time, a very gratifying performance. Mr. Lindsay Sloper accompanied the singers, and played two pieces on the piano with considerable ability. - Brighton Gazette. MADEMOISELLE ALBONI. - This vocalist is engaged at the French Opera-house, Paris, for a short period, after which she will proceed to fulfil an engagement in Hungary. (The Era, Sunday, 3 October 1847)

MR. McCARROLL'S CONCERT. (The following was unavoidably postponed from last week.) The concert given by this entrepreneur, for which Mademoiselle Alboni, Mademoiselle Corbari, Mr. Lindsay Sloper, and Mr. John Parry were engaged, took place at the Town Hall, on Saturday morning last, before a brilliant and numerous audience. After the attractions of Grisi's concert, and the exhaustion both of purse and curiosity attendant upon Jenny Lind's recent appearance here, it argued no slight reliance, on Mr. McCarroll's part, upon the superiority of the artiste, and upon the good taste of the public, so soon to try a third concert. He has, however, not only made the trial, but has achieved complete success, a fact which shows that however great previous attractions may have been, first-rate talent will ever command the attention of the public. The concert on Saturday was an exception to the general rule of morning concerts. It was not, as was said or sung by John Parry, in one of his humorous songs, "a morning concert which begins at two and ends at nine"-indeed, if it had a fault as regards duration, that fault was its shortness. The first part commenced with a duetto, by Alboni and Corbari, charmingly sung, and which served to create a favourable impression towards both vocalists. This was succeeded by " Voi che sapete," which Mdlle. Corbari rendered in a style which, though neither very striking in point of conception nor execution, displayed much care and study, besides an organ of considerable sweetness and power. This concluded, all eyes and ears were on the stretch for Alboni, to whom the programme assigned that old standard favorite, "Una voce poca fa," To this song, though in one sense of the word, so thoroughly hackneyed, Mdlle. Alboni has contrived to give a thoroughly new reading ; she has made it entirely her own, and although, perhaps, taking no little license with the original, the splendour of her organ, the beauty and ingenuity of her fioriture, and the earnest reality with which she imbues the whole song, irresistibly won over her audience. An unanimous encore was the result, a request which the fair vocalist complied with, after Irish fashion, by substituting the celebrated Bacchanalian Song from Lucrezia Borgia, "II segreto per esser felice," which she gave in a manner that completely took her hearers by storm. It is impossible to convey to the reader an adequate or faithful idea of this brilliant morceau as rendered by Alboni. You must imagine a glorious voice-for it is glorious and nothing less-a perfect abandon both of voice and manner-a freedom and joyousness which run through every note-a bold conception and fearless and brilliant execution-you must, we repeat, imagine a combination of all these attributes, and you may imagine Alboni in "Il segreto per esser felice." We have enjoyed the opportunity of hearing this lady several times in this song, and on each occasion have we received increased pleasure. In the Tyrolean Air "In questo semplice" Mademoiselle Alboni was hardly less successful, again by means of her noble voice, her irresistible manner, and her perfect "nature," winning all hearts. In the second part, Mademoiselle Corbari substituted " Oh luce di quest' anima" for " Non fu sogno" -but it did not tell well. We have so often spoken in these columns, of Mr. John Parry, and of his amusing and clever efforts, that we have only to say that he sang and was encored in both the pieces for which he was set down in the programme. Whether he, or the audience, was flat, we cannot say, but his songs did not certainly go off quite so vivaciously as usual. Mr. Lindsay Sloper played two short fantasias on the piano forte, in a style evincing considerable power of finger and command over his instrument. It was evident, however, that Alboni's voice had absorbed the audience. Alboni was "the concert," and Mr. Sloper most sensibly did not seek to disturb so palpable a feeling. We have learned with considerable satisfaction that this concert has proved as successful to the entrepreneur as it must have been gratifying to its visitors. Mr. McCarroll deserves no slight praise for having introduced within the compass of a few weeks such singers as Grisi, Alboni, and Mario, to say nothing of the lesser stars who were their companions. (Sussex Advertiser, Tuesday, 5 October 1847)

Monday, 8 November 1847 : Mr. R. Sharp's Annual Grand Concert at Star Hotel Assembly Rooms, Oxford.

(By Permission of the Reverend the Vice Chancellor and the Worshipful the Mayor.) STAR ASSEMBLY ROOMS, OXFORD, GRAND CONCERT. R. SHARP has the honour to inform his friends that his ANNUAL CONCERT will take place at the above Rooms on MONDAY, NOVEMBER 8; on which occasion he will be assisted by the following celebrated Vocalists:- Madame CARADORI ALLAN, Miss DOLBY, Mr. JOHN PARRY. INSTRUMENTAL PERFORMERS. Mr. LINDSAY SLOPER, and Madame DULCKEN. 28, St. John-street. Oxford. (Jackson's Oxford Journal (1809), Saturday, 23 October 1847) (Also: Oxford Journal, Saturday, 23 October 1847.)

MR. SHARP'S CONCERT.- Our readers will perceive that Mr. Sharp's annual concert is fixed for Monday the 8th of next month. Madame Caradori Allan, Miss Dolby, John Parry, Mr. Lindsay Sloper, and Madame Dulcken, are engaged, and we look forward with pleasure to the re-appearance in Oxford of these established favourites. (Jackson's Oxford Journal (1809), Saturday, 23 October 1847)

… Sharp's annual concert is fixed for Monday the 8th of next month. Madame Caradori Allan, Miss Dolby, John Parry, Mr. Lindsay Sloper, and Madame Dulcken, are engaged, and we look forward with pleasure to the re-appearance in Oxford of these established favourites. (Oxford Journal, Saturday, 23 October 1847)

By Permission of the Reverend the Vice Chancellor and the Worshipful the Mayor.) STAR ASSEMBLY ROOMS, OXFORD, GRAND CONCERT. R. SHARP has the honour to inform his friends that his ANNUAL CONCERT will take place at the above Rooms on MONDAY, NOVEMBER 8; on which occasion he will be assisted by the following celebrated Vocalists:- Madame CARADORI ALLAN, Miss DOLBY, Mr. JOHN PARRY. INSTRUMENTAL PERFORMERS. Madame DULCKEN and Mr. LINDSAY SLOPER, who will play a Duett on two Grand Pianos 28, St. John-street. Oxford. (Jackson's Oxford Journal (1809), Saturday, 30 October 1847) (Also: Oxford Journal, Saturday, 30 October 1847; Jackson's Oxford Journal (1809), Saturday, 6 November 1847; Oxford Journal, Saturday, 6 November 1847.)

MUSICAL MEMORANDA…Madame Dulcken gave pianoforte performances during the week at Northampton, Nottingham, Leicester, &c, with the greatest success. She was accompanied by Mr. John Parry, whose singing delighted and pleased everywhere. A concert will take place at Oxford on Monday next, under distinguished patronage, for which the following artists have been engaged :- Madame Caradori Allan (who is about to retire from public life), Miss Dolby, Madame Dulcken, Mr. Lindsay Sloper, and Mr. John Parry. It is expected that the commemoration will take place next year, when a grand musical performance will be got up. (Morning Post, Monday, 1 November 1847)

OXFORD. - The Magdalen Choristers' concert will be a grand affair; as will also that of Mr. Sharpe, who announces Madame Caradori Allan, Miss Dolby, and John Parry, as vocalists; and Lindsay Sloper, and Madame Dulcken, for instrumental performers. But let us have no high prices Mr. Sharpe ! Vive la Musique! (Theatrical journal, Monday, 1 November 1847)

A CONCERT will take place at Oxford on the 8th of November, for which the following artists have been engaged :- Madame Caradori Allan, Miss Dolby, Madame Dulcken, Mr. Lindsay Sloper, and John Parry. (Theatrical journal, Monday, 1 November 1847)

OXFORD … but the grand concert of the year will be that of Mr. Howard Glover, at which the following artists will assist :- Madam Anna Thillon, Miss Dolby, the Misses Macnamara; Mr. Lindsay Sloper, and Mr. Howard Glover. (Theatrical journal, Monday, 1 November 1847)

MR. SHARP's CONCERT.-Mr. Sharp has issued a very attractive programme for his concert on Monday next. Madame Dulcken and Mr. Lindsay Sloper will play a duett on two piano fortes; Madame Caradori Allan and Miss Dolby will each sing some popular songs; and the inimitable John Parry has allotted to him "The London Season; or, as Captain Clifford says," and his new song, "Miss Harriett and her Governess; or, a Young Lady's Thoughts on Education." This occasion will be the last on which Madame Caradori Allan will appear before an Oxford audience, as we are informed that it is her intention to retire altogether from public life. Her loss in the musical world will be much regretted; and we do not doubt, therefore, that all those who have so often listened to her charming singing in this University and City will attend on Monday to bid her a hearty farewell. (Jackson's Oxford Journal (1809), Saturday, 6 November 1847) (Also: Oxford Journal, Saturday, 6 November 1847.)

A grand concert took place on Monday last at Oxford, the principal performers being Miss Dolby, Madame Caradori Allan, Madame Dulcken, Mr. Lindsay Sloper, and Mr. John Parry. Madame Dulcken was greatly applauded in Schulhoff's "Bohemian Airs" and Meyer's "Tremolo," and Miss Dolby created the greatest enthusiasm, and was vociferously encored in three of her songs. Our talented countryman, Mr. Lindsay Sloper, officiated as conductor, and performed a duet with Madame Dulcken with his usual excellence. As we can say nothing of Mr. John Parry without falling upon some of the hackneyed terms of eulogy, we shall merely state that he was there and sang. (Morning Post, Thursday, 11 November 1847) (Also: Morning Post, Thursday, 11 November 1847.)

MR. SHARP'S ANNUAL CONCERT took place on Monday last, at the Star Assembly Rooms, and was very fully and fashionably attended. Madame Caradori Allan sung with her accustomed excellence, and was warmly applauded. Miss Dolby met with a similar reception. She gave the new song by Linley, "The Swiss Girl," with charming effect, and it was deservedly encored. The duett on the two pianofortes by Madame Dulcken and Mr. Lindsay Sloper was magnificent, and met with that applause which always attends these accomplished pianists. John Parry's style of singing is so well known and appreciated that praise is needless. We can only add that his songs were vociferously encored, and that the concert was one of the best ever given by Mr. Sharp. (Jackson's Oxford Journal (1809), Saturday, 13 November 1847) (Also: Oxford Journal, Saturday, 13 November 1847.)

OXFORD.- A grand concert took place on Monday-last at Oxford, the principal performers being Miss Dolby, Madame Cradori Allan, Madame Dulcken, Mr. Lindsay Sloper, and Mr. John Parry. Madame Dulcken was greatly applauded in Schulhoff's " Bohemian Airs " and Meyer's "Tremolo ;" and Miss Dolby created the greatest enthusiasm, and was vociferously encored in three of her songs. Our talented countryman, Mr. Lindsay Sloper, officiated as conductor, and performed. a duet with Madame Dulcken with his usual excellence. (The Era, Sunday, 14 November 1847)

OXFORD.- Mr. HOWARD GLOVER has the honour to announce that he will give a GRAND CONCERT in the Star Hotel Assembly Rooms, in the above city, on MONDAY EVENING, December 6. Principal performers- Madame Anna Thillon, Miss Dolby, Miss Emily Macnamara, Miss Kate Macnamara, Mr. Howard Glover, and Mr. Lindsay Sloper. Reserved Seats, 7s. 6d.; Admission Tickets, 5s.: to be had at the Star and Angel Hotels, and of the principal Book and Music Sellers. MISS ELIZA DOLBY has the honour to announce that her SELECT MORNING CLASSES have COMMENCED in Hinde-street, and that, in addition to her own exertions, she has secured the assistance of eminent Professors to instruct in the Italian, French, and German languages ; Piano-forte, Dancing, and Drawing. Terms may be obtained of Miss Eliza Dolby, at her residence, No. 2 Hinde-street, Manchester-square. (Morning Post, Thursday, 18 November 1847)

Wednesday, 17 November 1847 : Literary Association of the Friends of Poland's Grand Polish Ball at Guildhall, City of London.

Grand Polish Ball at Guildhall. - The ball, announced for Wednesday next, promises to be extremely brilliant, both as to the nature of this annual fete and the company likely to be present. No place can be better adapted for such a purpose than the magnificent hall where the civic banquet has just taken place, the splendour of which, with all the gorgeous decorations and additional ornaments, have excited the admiration of the guests. The generosity of many eminent vocalists - Miss Poole, Miss Bassano, Miss Ransford, the Misses Williams, Miss Steele, Miss Dolby, Mr. W. Harrison, Signor Brizzi, Mr. James Bennett, Mr. F. Bodda, Signor Burdini, and Mr. John Parry, assisted by Messrs. W. H. Holmes, S. Noble, and Lindsay Sloper, who have kindly tendered their gratuitous services - offers amateurs the delightful enjoyment of listening to most lovely music ; while, to the votaries of dance, an efficient band will also supply their share of quadrilles, polkas, and waltzes. Many distinguished foreigners, at present in the metropolis, and a large number of the nobility, brought to town by the opening of parliament, will by their presence testify the interest they take in a cause which has always met with deserved sympathy at the hands of Englishmen. (The Standard, Thursday, 11 November 1847) (Also: Globe, Thursday, 11 November 1847; Illustrated London News, Saturday, 13 November 1847.)

GRAND POLISH BALL AT GUILDHALL.- The ball, announced for Wednesday next, promises to be extremely brilliant. No place can be better adapted for such a purpose, than the magnificent hall where the civic banquet has just taken place, the splendour of which, with all the gorgeous decorations and additional ornaments, have excited the admiration of the guests. The generosity of many eminent vocalists-Miss Poole, Miss Bassano, Miss Ransford, the Misses Williams, Miss Steele, Miss Dolby, Mr. W. Harrison, Signor Brizzi, Mr. James Bennet, Mr. F. Bodda, Signer Burdini, and Mr. John Parry, assisted by Messrs. W. H. Holmes, S. Noble, and Lindsay Sloper, who have kindly tendered their gratuitous services,-offers to amateurs the delightful enjoyment of listening to most lovely music, while to the votaries of dance, an efficient band will also supply their share of quadrilles, polkas, and waltzes. Many distinguished foreigners, at present in the metropolis, and a large number of the nobility, brought to town by the opening of Parliament, will by their presence testify the interest they take in a cause which has always met with a deserved sympathy at the hands of Englishmen. As the price of tickets, considering the heavy expenses which the committee must inevitably incur for an entertainment of so high an order, is the same as on previous occasions. (Bell's Weekly Messenger, Saturday, 13 November 1847) (Also: Bell's Life in London and Sporting Chronicle, Sunday, 14 November 1847; The Era, Sunday, 14 November 1847.)

GRAND POLISH BALL AT GUILDHALL. - The ball announced for Wednesday next, promises to be extremely brilliant, both as to the nature of this annual fete and the company likely to be present. No place can be better adapted for such a purpose than the magnificent hall where the civic banquet has just taken place, the splendour of which, with all the gorgeous decorations and additional ornaments, have excited the admiration of the guests. The generosity of many eminent vocalists - Miss Poole, Miss Bassano, Miss Ransford, the Misses Williams, Miss Steele, Miss Dolby, Mr W. Harrison, Signor Brizzi, Mr James Bennett, Mr F. Bodda, Signor Burdini, and Mr. John Parry, assisted by Messrs W. H. Holmes, S. Noble, and Lindsay Sloper, who have kindly tendered their gratuitous services - offers to amateurs the delightful enjoyment of listening to most lovely music, while to the votaries of dance an efficient band will also supply their share of quadrilles, polkas, and waltzes. Many distinguished foreigners, at present in the metropolis, and a large number of the nobility, brought to town by the opening of Parliament, will by their presence testify the interest they take in a cause which has always met with deserved sympathy at the hands of Englishmen. As the price of tickets, considering the heavy expenses which the committee must inevitably incur for an entertainment of so high an order, is the same as on previous occasions, viz., £1 1s for double ticket, admitting a lady and gentlemen, 15s for a gentleman's ticket, and 10s for a lady's, we are not surprised that the demand for them is daily increasing, and we augur for the Polish Ball a complete success. (Bell's Life in London and Sporting Chronicle, Sunday, 14 November 1847)

POLISH BALL. "The friends of Poland" met in large numbers last night, at the Guildhall, in aid of the funds of the association, and there did not seem to be any falling off in the attendance, in comparison with the assemblages of previous years. Under favour of the City authorities, the embellishments provided for the festivities of Lord Mayor's day were suffered to remain, and the aspect of the scene was, therefore, as rich and beautiful as could well be imagined, the profusion of gas jets running in lines along the architectural moulding, and the illuminated crystal star, bathing the huge area in brilliant light, and bringing out the colours of the fancy dresses in their best and most attractive gaiety. About midnight the hall was quite full, numbering probably about sixteen hundred persons, including several of the nobility and most of the individuals invested with civic distinction. The amusements were not confined to dancing. In the Council Chamber a concert took place under the direction of Mr. Lindsay Sloper, assisted by Mr. S. Noble, at which Miss Dolby, Miss Bassano, the Misses Williams, Miss Ransford, Mrs. Weiss, Mr. Burdini, Mr., Bodda, Mr. Bennett, Mr. Brizzi, and Mr. John Parry, gave gratuitously their valuable services, much to the gratification of those who listened to them. The cosmoramic views were lighted up as upon former occasions, and the entrance vestibule was prettily decorated with evergreens. The entertainment altogether passed off with the greatest éclat, and there is every reason to believe that the charity for whose benefit it was got up, has, notwithstanding the unfavourable state of the times, profited handsomely by the patronage bestowed upon it. Among the company present were Lord Dudley Stuart (to whose unceasing exertions the association owes so much) the Lord Mayor, the Lady Mayoress and family, Sir George and Lady Carroll, Mr. Sheriff Cubitt, M. P., and lady, Mr. Sheriff Hill and lady, Alderman Farebrother, Alderman Wilson. Alderman Hughes Hughes, the Countess Poulett, Lady Hamilton Chichester, Sir George Stuart, Lady Caroline Dawson Darner, Lady Louisa Dawson Darner, the Hon. Mrs. Abbott, Hon. Mrs. Murray, Lord De Lisle and Dudley his Excellency James Brooke, Sir Robert Brownrig, Bart.; Mr. Milner Gibson, Mr. Horace Twiss, the Hon. Spencer Cowper, Captain Townsend, R.N.; Captain King, R.N.; Captain Munday, R.N.; the Hon. Mr. Howard, Baron Paravicini, J. A. Smith, Esq., M.P. ; John Williams, M.P.; Captain and Mrs. Robertson, the Earl of Munster, Lord Suffield, Lord and Lady Beaumont, J. W. Carlton, Esq.; Captain Ferguson, W. Turquand, Esq.; W. Merewether, Esq.; Captain Merewether, &c. (The Standard, Thursday, 18 November 1847)

Frascinodi, on the Italian side of the Simplon, was especially attractive. This striking and magnificent portion of the Val Dovinia-so splendid example of a true Alpine pass-was, however, not only admirably and ably displayed in miniature here, but it likewise served as charming and really romantic lounge for wearied dancers; and was, further, a further, a most welcome mode of moderating the surrounding atmosphere. The musichall was absolutely refreshing, merely to gaze upon, while those who approached it were perfectly re-animated and re-invigorated for the dance by the welcome and cooling breezes which it scattered around. In this and every other instance conspicuous and most effective taste was displayed in the arrangements, while the judgment which accompanied and dictated all was striking, and worthy of all eulogy. The company on the present occasion, did not assemble until a late hour; but, to compensate, they did not, on the other hand, separate until a late hour. Thus, long and delightful evening was secured to all; and all seemed to enjoy it to the uttermost. With the spirited and irresistible aid of Adams's band, the dancing was maintained with unflagging zeal until morning was far advanced. Quadrilles, polkas, waltzes, Spanish dances, the Cellarius, &c., followed each other in rapid and well-varied succession ; and in all, the company seemed to enter with equal heartiness and enjoyment. With such music to dance to, such fair ladies to dance with, and such a gay, brilliant hall to dance in, a different result would have been impossible. Among the | company present, we observed the following:-The Lord Mayor, the Lady Mayoress and family; the late Lord Mayor and Lady Mayoress (Sir George and Lady Carroll); Mr. Sheriff Cubitt, M. P., and Lady ; Mr. Sheriff Hill and Lady; Alderman Farebrother, Alderman Wilson, Alderman Hughes Hughes, Lord Dudley Stuart, the Countess Poulett, Lady Hamilton Chichester, Lady G. Stuart, Lady Caroline Dawson Darner, Lady Louisa Dawson Darner, the Hon. Mrs. Abbott, the Hon. Mrs. Murray, Lord De L'lsle and Dudley, His Excellency, James Brook. Rajah of Sarawak ; Robert Brownrigg, Bart.; Mrs. Milner Gibson, Mrs Horace Twiss, Hon. Spenser Cowper, Captain Townshend, R.N.; Captain King, R.N.; Captain Mundig, R.V; the Hon. C. Howard, J. A. Smith, Esq., M.P.; John Milhams. Esq., M.P.; Captain and Mrs. Robertson, Earl of Munster, Lord Sutfield, Lord and Lady Beaumont, &c., &c. may remark, before concluding, that the general (and especially the heraldic) decorations of the Hall were particularly excellent. Under the able care and arrangement of Messrs. G. and C. Bishop, they were managed in such a manner as to be effective possible ; and indeed, to all those who shared in the superintendence of the entertainments, great praise is due. Among the distinguished artistes who generously gave their assistance for the concert, were Miss Poole Miss Bassano, Miss Ransford, Miss Steele, the Misses Williams, and Miss Dolby; Mr. W. H. Harrison Signor Brizzi, Mr. James Bennett, Signor Burdini, Mr. Bodda, and Mr. John Parry. The conductors were Messrs. W. H. Holmes, S. Noble, and Lindsay Sloper. The efforts of these several vocalists were attended by the utmost success; and the concert passed off with great éclat. (Morning Advertiser, Thursday, 18 November 1847)

THE POLISH BALL AT GUILDHALL. On Wednesday night, the city celebrities, Gog and Magog, looked down upon as brilliant, gay, animated, and cheering a scene as can well have been enacted for many, many years, within London's chief festive ball. It was on the occasion of the annual grand dress and fancy ball and concert given in aid of the funds of the Literary Association of the Friends of Poland. In that term "Friends of Poland," all lovers of liberty and national freedom - all haters of oppression, tyranny, end irresponsible despotism, must be classed. It is, therefore, most gratifying, but by no means surprising, that the leading authorities and merchants, and the honourable end honoured members of the Corporation of London's far-famed city should heartily and constantly enlist themselves among the generous, noble-hearted, and deeply-sympathising " friends of Poland" - a nation whose exiled sons have so long been unhappily forced to appeal to the aiding hands and condoling breasts of those more fortunate countries which have themselves escaped such sufferings, but still can, nevertheless, deeply feel for brethren, Whose lot has been cast in less privileged lands. Last year the Polish Ball was signally successful but, on the present occasion, we are happy to record, the annual celebration of England's sympathy with the oppressed exiles was still more gratifying and triumphant In its character. At the ball of 1846 there were present, we believe, about 1,606 persons ; and the Guildhall and other chambers set apart for the company then collected, were completely, and, at times, even inconveniently crowded. On this occasion. however, there were, it was calculated, no fewer than 1,800 individuals gathered together to aid the generous and estimable funds of the Literary Association of the Friends of Poland. By the admirable and judicious arrangements, however, which were made by the managing committee, and, indeed, by the untiring exertions of all who had any share in the superintendence of the entertainment, this increased attendance led, not only to no increased Inconvenience or pressure, but all was accommodated in a much more comfortable and commodious manner than in the previous celebration just eluded to. The Guildhall and adjoining apartments were illuminated, adorned, and decorated in exactly the same style as on Lord Mayor's-day, When the various preparations were so strikingly effective, and elicited such universal admiration. Never, certainly, was better use made of the several chambers near the hall itself. Each one had some attraction, some novelty, same charm to demand the attention of and please the visitor. The result, consequently, was that the great pressure in the Guildhall was diminished, and numbers were gratified in other parts, by the tasteful and costly ornaments, illuminations, &c., prepared in the neighbouring chambers. The beautiful representation or model of the Gorge and Gallery of Gondo, with the waterfall of the Frascinodi, on the Italian side of the Simplon, was especially attractive. This striking and magnificent portion of the Vat Dovinia - so splendid an example of the true Alpine pass - was, however, not only admirably and ably displayed in miniature here ; but it likewise served as a charming and really romantic lounge for wearied dancers; and. was, further, a most welcome mode of moderating the surrounding atmosphere. The mimic foil was absolutely refreshing, merely to gaze upon ; while those who approached it were perfectly re-animated and re-invigorated for the dance by the welcome and cooling breezes which it scattered around. In this and every other instance conspicuous and most effective taste was displayed in the arrangements, while the judgment which accompanied and dictated all was striking, and worthy of all eulogy. The company on the present occasion, did not assemble until a late hour but, to compensate, they did not, on the other hand, separate until a late hour. Thus, a long and delightful evening was secured to all; and all seemed to enjoy it to the uttermost, With the spirited and irresistible aid of Adams's band, the dancing was maintained with unflagging zeal until morning was far advanced. Quadrilles, polkas, waltzes; Spanish dances, the Cellarius, &c., followed each other in rapid and well-varied succession; and in all, the company seemed to enter with equal heartiness and enjoyment. With such music to dance to, such fair ladies to dance with, and such a gay, brilliant hall to dance in, a different result would have been impossible. Among the company present, we observed the following :-The Lord Mayor, the Lady Mayoress and family; the late Lord Mayor and Lady Mayoress (Sir George and Lady Carroll); Mr. Sheriff Cubbit, M.P., and Lady; Mr. Sheriff Hill and Lady; Alderman Farebrother, Alderman Wilson, Alderman Hughes Hughes, Lard Dudley Stuart, the Countess Poulett, Lady Hamilton Chichester, Lady G. Stuart, Lady Caroline Dawson Damer, Lady Louisa Dawson Damer, the ,Hon. Mrs. Abbott, the Hon. Mrs. Murray; Lord de l'Isle and Dudley, his Excellency James Brook, Rajah of Sarawak ; Sir Robert Brownrigg, Bart.; Mrs. Milner Gibson, Mrs. Horace Twiss, Hon. Spenser Cowper, Captain Townshend, R.N., Captain King, R.N,; Captain Mundig, R.N. ; the Hon. C. Howard, J. A. Smith, Esq., M.P. John Williams, Esq., MP.; Captain and Mrs. Robertson, Earl of Munster, Lord. Suffield, Lord and Lady Beaumont, &c. We may remark, before concluding, that the general (and especially the heraldic) decorations of the hall were particularly excellent. Under the able care and arrangement of Messrs. G. and C. Bishop, they were managed in such a manner as to be as effective as possible; and, indeed, to all these who shared in the superintendence of the entertainment, great praise is due. Among the distinguished artistes who generously gave their assistance for the concert, were Miss Poole, Miss Bassano, Miss Ransford, Miss Steele, the Misses Williams, and Miss Dolby; Mr. W. H. Harrison. Signor Brizi, Mr. James Bennett, Signer Burdini, Mr. F. Bodda, and Mr. John Perry. The conductors were Messrs. W. H. Holmes, S. Noble, and Lindsay Sloper. The efforts of these several vocalists were attended by the utmost success; and the concert passed off with great éclat. Indeed, we may repeat in conclusion, that the entire evening's proceedings were of the most gratifying character, and such, we trust and believe, as at once amply to satisfy the most sanguine of the " friends of Poland," and to reward them for the great and generous efforts they had made on the occasion. (Lloyd's Illustrated Newspaper, Sunday, 21 November 1847)

Thursday, 18 November 1847 : Miss Dolby and Mr. John Parry's Annual Concert at Literary Institution, Croydon.

CROYDON.- Miss Dolby and Mr. John Parry gave their annual concert at the Literary Institution, Croydon ; on Thursday evening, which was very fully attended. The vocalists were Miss Dolby (who was encored in four songs), Miss Towers, Mr. Hobbs, Signor Ferrari, and John Parry. The latter was twice encored, and he introduced a new song, by Mr. J. W. Roe, called "Red Riding Hood " with great success. Mr. Lindsay Sloper presided at the piano forte, and performed two fantasias in the most brilliant style. (Morning Post, Saturday, 20 November 1847)

Monday, 6 December 1847 : Mr. Howard Glover's Grand Concert at Star Hotel Assembly Rooms, Oxford.

MR. HOWARD GLOVER has announced a grand concert to take place at the Star Hotel Circus Room, Oxford, on Monday evening, December, the 6th. The principal performers will include Madame Anna Thillon, Miss Dolby. Miss Emily Macnamara, Miss Kate Macnamara, Mr. Howard Glover and Mr. Lindsay Sloper. (The Musical world, Saturday, 27 November 1847)

OXFORD.- Mr. HOWARD GLOVER has the honour to announce that he will give a GRAND CONCERT at the Star Hotel Assembly Rooms, in the above city, on MONDAY EVENING next, December 6, to commence at Eight o'clock Principal performers- Madame Anna Thillon, Miss Dolby, Miss Emily Macnamara, Miss Kate Macnamara, Mr. Howard Glover Mr. Wallace, and Mr. Lindsay Sloper. Reserved Seats 7s 6d Admission Tickets, 5s.; to be had at the Angel and Star Hotels and of the principal Book and Musis Sellers. (Morning Post, Tuesday, 30 November 1847) (Also: Jackson's Oxford Journal (1809), Saturday, 4 December 1847.)

MR. HOWARD GLOVER has the honour to announce that his GRAND EVENING CONCERT will take place at the above Room on MONDAY EVENING NEXT, December 6, to commence at Eight o'clock; on which occasion the celebrated Vocalist, Madame ANNA THILLON, will make her FIRST APPEARANCE in Oxford, IN CONJUNCTION with Miss DOLBY, Miss EMILY MACNAMARA, Miss CATE MACNAMARA, Mr. HOWARD GLOVER, Mr. WALLACE, Mr. LINDSAY SLOPER, and other distinguished Artistes. Reserved seats, 7s. 6d., and admission tickets, 5s., to be had at the Star and Angel Hotels and of the principal Book and Musis Sellers. (Oxford Journal, Saturday, 4 December 1847)

Monday, 13 December 1847 : The Society of British Musicians's Fourth Chamber Concert (Evening) at Erat's Harp Saloon, Berners-Street.

AT A TRIAL OF NEW WORKS, held in Berners Street on Wednesday last, the following instrumental compositions were highly approved of; a quartet by Henry C. Banister, a quartet by Baly, a sonata for Piano and Violin, by Walter C. Macfarren, excellently played by the composer, and Mr. E. W. Thomas, a duet for two Pianofortes by Lindsay Sloper, artistically performed by the composer and Mr. Jewson. The vocal music was from the pens of Messrs. C. E. Horsley, H. B. Richards, C. Stephens, and J. R. Tutton, interpreted by Miss Duval, Miss Steele, and Mr. W. H. Seguin. (The Musical world, Saturday, 4 December 1847)

SOCIETY OF BRITISH MUSICIANS. The concert on Monday evening (the fourth), was the least interesting we have heard. The two works selected from the great masters were very indifferently performed, while one of the couple of native instrumental compositions was not worth the good playing bestowed upon it. Beethoven's well-known Kreutzer Sonata in A, for pianoforte and violin, played Miss Clara Sterling and Mr. A. Streather, demands the highest executive finish, and a fine poetical style of interpretation, neither of which were bestowed upon it by the lady and gentleman in question. With the exception of one or two variations in the andante movement, which were executed neatly and gracefully, the general rendering of this fine work was very unsatisfactory. A manuscript duet, by Mr. Brinley Richards-a Notturno, with a simple melody, presenting nothing unusual-was sung Miss Solomon (her first appearance at these concerts) and Mr. H. Seguin. The lady should correct her present mode of producing the voice, which renders it thick and indistinct. Two songs by Mr. C. E. Horsley, were sung (first time) by Miss Duval. The words are imitated from the German" the poet, while the music is imitated from the same source the musician. One is written on the model of Spohr, the other in the manner of Mendelssohn. Miss Duval sang them both very nicely, and obtained an encore for the second. Mr. J. Calkin's stringed instrument Quartett in D minor, was played by Messrs. John Day. A. Streather, R. Hughes, and Lovell Phillips. This is clever, pleasant composition, the chief beauties of which were fully developed by the playing of Mr. John Day, whose sweet tone and exquisite taste were especially displayed in the charming subject of the Larghetto, while his brilliant, facile execution of the vivacious finale was no less enjoyed. The performance of the Quartett was the principal pleasure of the evening. A duett in E minor, for two pianofortes, by Mr. Lindsay Sloper, was played, for the first time publicly, by the composer and Mr. Jewson. Had the composition been as good as the playing we should not have to designate it "common place." In short, there is nothing attractive about it. Mr. W. H. Seguin sang a new song by Mr. O. E. Stephens, The voice which soothed my troubled soul," in his usual manly and excellent manner. Mr. Stephens's writing has at least the merit of being English in style It would be well if some of his brother composers would follow' his example in this respect. Miss Cubitt, whose young fresh voice and natural good taste are always welcome, obtained an encore for Klicking's pretty song, Evening descends from her starlighted bowers." Mozart's Quartett in C (No. 6) was played by Messrs. A. Streather, J. Dav, R. Hughes, and W. Lovell Phillips, and would have been relished but for the painfully sharp, thin tone, and occasional unsteadiness of the first violin. Leonhart's vocal trio "Complaint" sung by Miss Solomon, Miss Cubitt, and Miss Duval, concluded the concert. (Morning Advertiser, Wednesday, 15 December 1847)

Society Woalclana -The members of this institution gave their fourth chamber concert Monday night, at Erat's Harp Saloon, in Berners-street. The programme offered no novelty of importance, … the duett in E minor for two pianofortes, of Mr. Lindsay Sloper, a musician … like and admirable composition, played to perfection by the author and Mr. K. B. Jewson. having already been heard in public: and the two songs of Mr. Charles Horley, cleverly sung hy Miss Duval - the last To thee, to thee, my thought, are flying!'' obtaining and deserving an encore - although ( came their way, having claims to loftier rank than that ac.corded to bagatelles. Mr. B. Richards presided ably at the piano, and Mr. W. Macfarren was a judicious director (Bell's Weekly Messenger, Saturday, 18 December 1847)

SOCIETY OF BRITISH MUSICIANS. THE Fourth Chamber Concert took place at Erat's Harp Saloon, on Monday evening. The following vocal and instrumental programme was performed:- Sonata in A, Op. 47, dedicated to Kreutzer, Pianoforte and Violin, Miss Clara Sterling, (her first Beethoven. appearance at these Concerts), and Mr. A. Streather - Beethoven. Duet, (MS., first time of performance), Miss Solomon (her first appearance at these Concerts), and Brinley Richards. Mr. W. H. Seguin - Mr. Brinley Richards. Two Songs (first time of performance), Miss Duval C. E. Horsley. (imitated from the German by E. Buxton, Esq.) - C. E. Horsley. Quartet, No. 2, in D minor (MS.), two Violins, Tenor, and Violoncello, Messrs, John Day, James Calkin. A. Streather, R. Hughes (his first appearance at these Concerts), and W. Lovell Phillips - James Calkin. An interval of ten minutes. Duet in E minor Op. 9, (first time of performance), two Pianofortes, Messrs. F. B. Jewson and Lindsay Sloper - Lindsay Sloper. Recit. and Air, Mr. W. H. Seguin (MS. first time of performance) - C. E. Stephens. " The Mother's song," Miss Cubit - Kücken. Quartet in C (No. 6), Messrs. A. Streather, J. Day, R. Hughes, and W. Lovell Phillips - Mozart. Trio, "Complaint," Miss Solomon, Miss Cubitt, and Miss Duval - Leonhart. The Vocal Music accompanied on the Pianoforte by Mr. Brinley Richards. Director for the Evening, Mr. Walter C. Macfarren. The sonata of Beethoven should only be attempted in public by first-rate executants, a distinction to which Miss Clara Sterling and Mr. A. Streather can hardly aspire, Miss Clara Stirling should have been less ambitious on the occasion of her debut; she would have been likely to make more impression in a sonata of moderate difficulty. Mr. Brinley Richards' duet is pleasing but not remarkably original ; it is well voiced, and, although Miss Solomon supplied Miss Steele's place, at a short notice, she seconded Mr. W. H. Seguin very assiduously in its interpretation. Mr. Charles Horsley's songs are both charming and musician-like - the latter especially, which only sing inasmuch as it is too close an imitation of Mendelssohn. Miss Duval sang them well, and deserved the encore accorded to the second, "To thee, to thee, my words are flying." The words of these songs, by E. Buxton, Esq. display a fine ear and a graceful style ; the first, perhaps, borders a little too closely on the freedom of the Anacreontic style, but the elegance of the verses wins a pardon for the voluptuousness of the sentiment, and the thin covering which only half hides the nakedness of the prime incident, and is as easily torn away as the veil which the poet has placed upon the bosom of his Blonda. Fi donc - we are becoming Puritans! Mr. Buxton, we beg your pardon. Mr. Calkin's quartet is an old acquaintance, and we have nothing to remark but the excellence of its performance by Messrs. John Day, A. Streather, R. Hughes, and Lovell Phillips. Mr. R. Hughes' first appearance in so unpretending a position as that of tenor, is a guarantee of his modesty, as his playing is a guarantee of his talent. The interval of ten minutes lasted more than a quarter of an hour. Mr. Lindsay Sloper's duet is the work of an accomplished and elegant musician. We liked it when played by the author last year, at his own request, in conjunction with Mr. Benedict, and we liked it as much again on Monday night - a proof that its qualities are sterling. It was faultlessly executed by Mr. Jewson and the composer, and was highly admired by the connoisseurs. Mr. C. E. Stephens's recitative and air offers no point for praise, and none for blame but its entire want of character. M. Seguin did his best for it. Kücken's song is a piece of insipid twaddle; we hope Miss Cubitt did not select it for herself. The young lady will doubtless respond, "I was encored !" - which does not prove the song to have been good. Mozart's quartet, a mine of genius, and a storehouse of science, was well performed, but not so well as Mr. Calkin's ! Mr. Day, for Mozart's sake, should have retained his post as first violin. Of the trio of Leonhart (who is Leonhart ?) we only heard the first phrase, but that was quite enough. Mr. Brinley Richards presided at the piano with the ability for which he is known, and the post of director of the evening was honorably and assiduously sustained by Mr. Walter Cecil Macfarren. On the whole the compositions and performances at this meeting gave us little reason to hope that the society is making any progress. Let us trust that the programme of the fifth meeting, on Monday evening, Dec. 27, may be more attractive and more promising. (The Musical world, Saturday, 18 December 1847)

[Return to Concert Diary]

Last Updated:
Wednesday, 9 September, 2020