Concert Advertisements and Reviews - 1848.

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Thursday, 17 February 1848 : Mr. Lindsay Sloper's First Soirée of Pianoforte Music at Willis's Rooms, King-Street, St. James's.

Mr. Lindsay Sloper's programme was very attractive. The Duett Sonata in c minor, by Sebastian Bach (firmly played by himself and Mr. Willy), was new to us, and as delightful as new. To use our epithet in another sense, the Siciliana and Adagio of this composition bear no date; their forms of phrase being of the freshest, and their modulations artful and surprising yet never far-fetched. But what are we - still more what are our neighbours, the French, who rate British connoisseurship so cheap - to say of times when a Passacaglia by Couperin gets encored ? Truly, that there is a day of reckoning and reward for all good and true things! And our young professors deserve honour no less than our audiences when their research leads them so far out of the beaten track as this. It speaks well for our publishers, too, that some of these excellent old compositions are about to be reprinted. The air of the Passacaglia is one of the most natural and naïf melodies in the minor key which we recollect. Besides these, Mr. Sloper played Beethoven's Sonata, Op. 101 - which, fine as it is, ranks among the master's caviare compositions - and Mendelssohn's Pianoforte Quartett in B minor. In this he was excellently supported by Messrs. Willy, Hill, and Hausmann. After these came Mazurkas by Chopin and Studies by the concert-giver. - We are bound to say that Miss Dolby's singing (here as at Mr. Bennett's soirée) of the 'Night Song' and the 'Spring Song,' from Mendelssohn's last set, both transposed, is a clever mistake. The latter especially loses effect when tamed from so brilliant a key as A major to the duller register of F. On the whole, the taste shown in these two Soirées speaks well for the advancement made by our native artists. In both cases it was properly recognized by an attentive audience. (The Athenaeum, Thursday, 10 February 1848) (Also: The Athenaeum, Thursday, 10 February 1848.)

WILLIS'S ROOMS, ST. JAMES'S. - MR. LINDSAY SLOPER'S SOIREES of PIANOFORTE MUSIC (Season 1848) will take place at the above Rooms on the following Evenings:- THURSDAY, February 17, THURSDAY, March 2, THURSDAY, March 16. To commence at half-past Eight o'clock precisely. Subscription Tickets for the Series, or Family Tickets (to admit three to one Soirée), One Guinea each; and Single Tickets, Half-a-Guinea each; may be had of all the principal Musicsellers; and of Mr. Lindsay Sloper, 7, Southwick-place, Hyde-Park-square. (The Athenaeum, Saturday, 12 February 1848)

MUSICAL MEMORANDA. Mr. Lindsay Sloper, the eminent pianist, has announced a series of soirées of pianoforte music, to take place in Willis's Rooms. The selection will be from Bach, F. Couperin, Beethoven, Mendelssohn. Chopin, and a portion of a set of twenty-four studies by Lindsay Sloper. Mr. W. Sterndale Bennett's first performance of classical pianoforte music will take place to-morrow night at the Hanover-square Rooms… The Melodist Club.- The following artists have been invited to the next meeting of the Melodists :- Mr Lindsay Sloper, Mr. R. Carte, and Mr. Lazarus. … (Morning Post, Monday, 14 February 1848)

MR. LINDSAY SLOPER'S FIRST SOIREE of PIANOFORTE MUSIC will take place at Willis's Rooms TO-MORROW, February. 17, to commence at Half-past Eight o'clock precisely. Mr. L. Sloper will be assisted by Miss Dolby, Messrs. Willy, Hill, and Hausmann. Subscription Tickets for the Series, or Family Tickets (to admit three to one Soirée), One Guinea each; and Single Tickets, Half-a-Guinea each, may be had of all the principal Musicsellers, and of Mr. Lindsay Sloper, 7, Southwick-place, Hyde Park-square. (Morning Post, Wednesday, 16 February 1848) (Also: Morning Post, Wednesday, 16 February 1848.)

Willis's Rooms.-Mr. Lindsay Sloper, one of the most accomplished and finished of our pianistes, gave his first soirée last evening, upon which occasion a programme, interesting from its intrinsic beauty and variety, afforded ample opportunity for the exhibition of his classical feeling and refined taste. In the first part Mr. Lindsay Sloper was encored on performing on the pianoforte a Gigue and Passacaglia in D minor, by F. Couperin, organist to Louis XV, a very quaint and beautiful composition, which was rendered in the highest style of excellence by the beneficiaire. Miss Dolby, by her exquisite singing of two beautiful songs by the late lamented Mendelssohn and Mr. Lindsay Sloper, added considerably to the success of the evening. Mr. L. Sloper was assisted by Messrs. Willy, Hill, and Hausmann, who, in their respective instruments, performed with a perfect ensemble Bach's sonata in C minor, and Mendelssohn's quartet in B minor. The concert gave great satisfaction, and was well attended. (Morning Post, Friday, 18 February 1848) (Also: Morning Post, Friday, 18 February 1848.)

Mr. Lindsay Sloper, the eminent pianist, has announced a series of soirées of pianoforte music, to take place in Willis's Rooms. The selection will be from Bach, F. Couperin, Beethoven, Mendelssohn, Chopin, and a portion of a set of twenty-four studies by Lindsay Sloper. (The Lady's Newspaper & Pictorial Times, Saturday, 19 February 1848)

… and on Thursday, Mr. Lindsay Sloper opened his soirées of Pianoforte Music at Willis's Rooms. We were unavoidably absent, but shall attend the second meeting. (Illustrated London News, Saturday, 19 February 1848)

Mr. Lindsay Sloper's programme was very attractive. The Duet Sonata in C minor, by Sebastian Bach (firmly played by himself and Mr. Willy),was new to us, and as delightful as new. To use our epithet in another sense, the Siciliana and adagio of the composition bear no date; their forms of phrase being of the freshest, and their modulations artful and surprising yet never far-fetched. But what are we - still more what are our neighbours, the French, who rate British connoisseurship so cheap - to say of times when a Passacaglia by Couperin gets encored ? Truly, that there is a day of reckoning and reward for all good and true things! And our young professors deserve honour no less than our audiences when their research leads them so far out of the beaten track as this. It speaks well for our publishers, too, that some of these excellent old compositions are about to be reprinted. The air of the Passacaglia is one of the most natural and naif melodies in the minor key which we recollect. Besides these, Mr. Sloper played Beethoven's Sonata, Op. 101 - which, fine as it is, ranks among the master's caviare compositions - and Mendelssohn's Pianoforte Quartett in B minor. In this he was excellently supported by Messrs. Willy, Hill, and Hausmann. After these came Mazurkas by Chopin and Studies by the concert-giver - We are bound to say that Miss Dolby's singing (here as at Mr. Bennett's soirée) of the 'Night Song' and the 'Spring Song,' from Mendelssohn's last set, both transposed, is a clever mistake. The latter especially loses effect when tamed from so brilliant a key as A major to the duller register of F. On the whole, the taste shown in these two Soirées speaks well for the advancement made by our native artists. In both cases it was properly recognized by an attentive audience. (The Athenaeum, Saturday, 19 February 1848)

WILLIS'S ROOMS, SAINT JAMES'S. MR. LINDSAY SLOPER'S SOIREES OF PIANO-FORTE MUSIC, SEASON 1848, Will take place at the above Rooms on the following Evenings:-THURSDAY, March 2, Thursday, March 16, To commence at half-past Eight o'clock precisely. Subscription Tickets for the Series, or Family Tickets (to admit three to one Soirée) One Guinea each ; and single Tickets, Half-a-Guinea each; may be had of all the principal Music-sellers; and of Mr. Lindsay Sloper, 7, Southwick Place, Hyde Park Square. (The Musical world, Saturday, 19 February 1848)

MUSIC. Mr. Lindsay Sloper's first of three soirées, at Willis's rooms, afforded the connoisseurs of pianoforte music, a very interesting entertainment. Mr. Sloper, though a young player, has already distinguished himself as a very able "interpreter" of the first masters. On this occasion, he performed one of the difficulties of Beethoven's pianoforte compositions, the sonata op. 101, in A major. This may be considered as the most remarkable of the pieces played ; it is, however, of too eccentric and intricate a character to please any but those who have studied the master. Although it embraces great manual difficulties, yet it is dependent so very much upon treatment, as to require a master-hand, and we think Mr. Sloper has added to his reputation by the excellent way in which he played it. Another very interesting piece was called a Gigue and Passacaglia, composed by F. Couperin. organist to Louis XV, in 1725. We believe the names are those of a kind of dance of the period ; the music is of a singularly quaint style, with a good deal of fugue, very much like some of Handel's; That of the Passacaglia is especially pleasing, and exhibits considerable skill in composition. It was encored. The selection from Mr. Sloper's studies shewed a good knowledge of the powers of the instrument; but we could wish for more originality and less of ideas so palpably founded on Mendelssohn. The Bach Sonata for violin and piano, was not so happily given as the other music : the Adagio was, however, finely played by Willy and Sloper. The fine quartett, op. 3, B minor, of Mendelssohn, was rendered with great skill by Sloper, Willy, Hill, and Haussman ; and the music was varied with songs by Miss Dolby, and some mazurkas of Chopin by Mr. Sloper. The music selected for this soirée partakes of the very severe character; and while one cannot help being pleased with such an exhibition of talent, yet there is a lack of that which all can understand - the beauty of simplicity in the true expression of sentiment. (The Literary gazette : A weekly journal of literature, science, and the fine arts, Saturday, 26 February 1848)

WILLIS'S ROOMS, SAINT JAMES'S. MR. LINDSAY SLOPER'S SOIREES OF PIANO-FORTE MUSIC, SEASON 1848, will take place at the above Rooms on the following. Evenings:--THURSDAY, March 2, Thursday, March 16, To commence at half-past Eight, o'clock precisely. Subscription Tickets for the Series, or Family Tickets (to admit three to one Soirée) One Guinea each ; and single Tickets, Half-a-Guinea each ; may be had of all the principal Music-sellers; and of Mr. Lindsay Sloper, 7, Southwick Place, Hyde Park Square. (The Musical world, Saturday, 26 February 1848)

MR. LINDSAY Sloper.-An elegant and fashionable audience assembled at Willis's Rooms on Thursday evening, the 17th, attracted by Mr. Lindsay Sloper's excellent and classical programme. This concert constituted the first of three soirées of pianoforte music, announced for the season 1848. The performance was devoted to the right sort of music, as the programme will indicate:- PART I.-Sonata (No. 4), in C. minor, for Pianoforte and Violin, Messrs Lindsay Sloper and Willy, J. S. Bach. - Fugue and Passacaglia in D minor, Pianoforte, Mr. Lindsay Sloper, F. Couperin (Organist to Louis XV., A.D. 1725). - Songs, Miss Dolby Mendelssohn - Sonata, Op. 101, in A major, Pianoforte, Mr. Lindsay Sloper, Beethoven. PART II.-Quartet, Op. 3, in B minor, for Pianoforte, Violin, Viola, and Violoncello, Messrs. Lindsay Sloper, Willy, Hill, and Hausmann, Mendelssohn. - Eighth Book of Mazurkas, Op. 50, Pianoforte, Mr. Lindsay Sloper, Chopin - Song, Op. 8, No. 3, Miss Dolby, Lindsay Sloper. - Selection from a Set of 24 Studies, Op. 3, Pianoforte, Mr. Lindsay Sloper, Lindsay Sloper. The selection was in every respect admirable. The entertainment opened well with the sonata of Bach, in which Mr. Lindsay Sloper displayed high powers of execution and great classic taste; being ably seconded by Mr. Willy. The quaint and picturesque Passacaglia of the old French composer was re-demanded with acclamations, a compliment wrung from the audience as much by the excellent playing of the pianist, as by the peculiar merits of the composition. Miss Dolby sang Mendelssohn's music in her usual pure and unaffected style, and was loudly applauded. In Beethoven's sonata, Mr. Lindsay Sloper exhibited his high feeling for the intellectual in music, and in each movement of this wonderful and rarely attempted work, obtained the unanimous approbation of his auditors. The splendid quartet was rendered a merveille by the four executants, of which it would be invidious to select any one for especial eulogy. The talented four worked as though they constituted one instrument played upon by some consummate hand. The performance of the quartet was certainly the crowning rose of the concert. We never heard the first movement taken so rapidly. Chopin's mazurkas served to exhibit Mr. Lindsay Sloper as an elegant interpreter of bagatelles, and as one thoroughly aware of the peculiarities of that which has been somewhat rashly styled the modern romantic school. Miss Dolby obtained a well-deserved encore in Mr. Sloper's song, a composition unaffectedly graceful and expressive. The selection of studies for the piano-forte brought out Mr. Sloper in a new light. As a composer for the pianoforte, this gentleman, on more than one occasion, has won our warmest commendation. We are happy to award our suffrages in favour of the studies performed on Thursday evening by Mr. Lindsay Sloper. The concert terminated at a rational hour. (The Musical World, Saturday, 26 February 1848) (Also: The Musical world, Saturday, 26 February 1848.)

LINDSAY SLOPER'S PIANOFORTE SOIREE. If we may form an opinion of the extending appreciation of this accomplished musician from the attendance at his first re-union, we may place him foremost in the rank of the popular performers of the day. In these days of exaggerated pianism, when digital difficulties would seem to supersede musical feeling ; when the instrument which was wont to interpret the beautiful thoughts of the poet-musician, is now made too often the medium to give forth the crude and wild sounds of a sort of musical orgie - when sense is sacrificed to noise, and the eyes to be astonished rather than the harmonic sense, it was delightful and reposeful to listen to the legitimate productions selected for the entertainment and the instruction of his patrons by Mr. Lindsay Sloper. Discarding the "tight-rope school" of performance, so much the vogue amongst the tasteless and the ill instructed, eschewing the Leopold Meyerisms, and the pseudo-marvels of the Hungarian professors, Lindsay Sloper is content to make the piano serve its legitimate purpose; the greatest difficulties are achieved, unerringly and gracefully - the touch is round and limpid, and the adagios and movements of pathos are sustained with "a lengthened sweetness long drawn out," which at once appeals to the true feelings, and lingers sweetly on the musical ear. His playing is distinguished by exceeding delicacy of shading, refinement of sentiment, mechanical dexterity, equality of tone, and unfailing execution. The performance consisted of examples from Mendelssohn, Bach, Chopin, and introduced for the first time in this country a gigue and passacaglia in D minor, by Couperin, the organist of Louis XV.; which was deservedly encored. Lindsay Sloper was assisted by Messrs. Willy, Hill, and Hausmann, in Bach's sonata in C minor, and Mendelssohn's quartet in E minor. The ensemble was perfect. Miss Dolby sang songs by Mendelssohn and Lindsay Sloper, which were given with charming effect. These soirées are delightful from their intrinsic merits, and keep the true music lover au courant with the best writers of the best schools. (The Mirror monthly magazine, Wednesday, 1 March 1848) (Also: The Mirror of literature, amusement, and instruction. … Ser. 4, v. 3 (1848), Sunday, 31 December 1848.)

Lindsay Sloper gab am 17. Februar seine erste Soirée, die sehr besucht war, obgleich sein Programm noch keine Jahres-neuigkeiten aufwies. Dieser junge Pianist, der jezt eben seine zweite Saison beginnt, hat ein sehr schönes Talent und spielt mit ausgezeichnetem Geschmack. Er trug unter andern ein Quartett von Mendelssohn vor, worin Hausmann ihn auf dem Violoncell begleitete, und das den rauschendsten Beifall fand. Miß Dolby sang einige hübsche Arien, unter andern einen Gesang an den Frühling, componiert von Klingemann, dem Sekretär der hannoverschen Gesandtschaft, der an Frische und Lieblichkeit alles übertraf und dem Freunde Mendelssohns Ehre macht. (Morgenblatt für gebildete leser, Monday, 6 March 1848)

Dem Morgenblatt schreibt man aus London: Lindsay Sloper gab am 17ten Februar seine erste Soirée, die sehr besucht war, obgleich sein Programm noch keine Jahresneuigkeiten aufwies. Dieser junge Pianist, der jetzt eben seine zweite Saison beginnt, hat ein sehr schönes Talent und spielt mit ausgezeichnetem Geschmack. Er trug unter anderem ein Quartett von Mendelssohn vor, worin Hausmann ihn auf dem Violoncell begleitete, und das den rauschendsten Beifall sand. Miß Dolby sang einige hübsche Arien, unter anderem einen Gesang an den Frühling, componirt von Klingemann, dem Secretär der hannoverschen Gesandtschaft, der an Frische und Lieblichkeit alles übertraf, und dem Freunde Mendelssohn's Ehre macht! (Neue Zeitschrift für Musik, Tuesday, 4 April 1848)

Monday, 28 February 1848 : Mr. Dando's Third Quartet Concert.

MUSIC AND MUSICIANS. Quartet Concerts, Crosby Hall. THE performance of Mendelssohn's last pianoforte trio in C minor by Mr. Lindsay Sloper, Messrs. Dando and Lucas, at the third concert on Monday, was possibly one of the best ever heard in London. The vigour and precision of the delivery of the first Allegro and the Andante delighted the audience much; the Scherzo too was unanimously encored, though pushed absolutely into a presto, and faster than we ever heard the movement attempted, something, something of a perfect ensemble in the imitations of the violin and bass who lead, was wanting. So much of impulse however, was discerned-so much of the earnest endeavour to render the composition in all the fire of the original conception and thought, that the performers did not fail to carry their audience with them, and to transport them on the wings of music beyond all considerations of the mechanism of playing. To attain this degree of animation is the is the great desideratum in the music of the new school, and especially in that of Mendelssohn, who has carried rapidity to its ne plus ultra, and employed it as the fittest element wherein to display his ingenious harmonic contrivances. A slow performer of Mendelssohn's pianoforte music could by no means be tolerated. Mr. Sloper is a young pianoforte player whose performances of classical music are very interesting, and who promises to attain the highest excellence in the delivery of music with accompaniments. Ile has the good accent and emphasis which result from a perfect acquaintance with the character and structure of a composition, and the relative bearing of its parts. His fingers are strong and brilliant, and his execution independent and masterly. Yet in the performance of this trio there was a want of telling articulation in the right hand. The power and force of the bass obscured the full effect of the passages in the upper part, and we heard chords chiefly where we should have heard brilliant motion. This is a defect This is a defect very common to players of the new school of the pianoforte, in which effects are sought by ponderous sounds and grandiose displays of power. If not corrected, it degenerates into an intolerable heaviness of style, as it did of late in Moscheles. A tremendous banging of the bass, which reduces the poor pianoforte to its last gasp, and makes us hear the wood rather than the string, is unpleasant. The forte in chamber music has its limits, and in its grandest conception something must still be left to the imagination. It is certainly musicianlike and desirable that the features in the left hand should be well marked; yet not so as to cover the brilliant and clear articulation of the right. We notice this as a growing fault in the execution of the modern school, through the example of many heavy German players, Mendelssohn, indeed, possessed perfect elasticity and equality of power in the hands. He was himself a model of the executive skill necessary for his own music ; committed, however, to performers in general, it is either too weak or too heavy and inarticulate. It may appear a paradox that while the music moves faster it should sound less brilliant than that of the old school ; yet, such is certainly the case, and it may be attributed to the absence (in modern players) of complete articulation and proportion between the two hands, without which nothing produces a brilliant effect. The English players of the of the day contain many of the excellencies of the late Mendelssohn. Mr. Sterndale Bennett possesses the smoothness, the rapidity, and clearness ; but his style, from want of physical force and the occasional effect of powerful contrast, tends to effeminacy. Mr. Sloper has the vigour and the power ; but he but he may improve in elasticity, in graceful delivery, and refinement of expression. . The chamber concerts of this performer, which are now in progress, show, however, that very sanguine expectations may be entertained of a young artist so devoted to classical study. The quartets introduced by Mr. Dando on this occasion were by A. Romberg, Fesca, and Beethoven. The interest of mere novelty in the works of the second-rate quartet composers soon wears out; the novelty, in fact, consists more in name than in substance. A first time of performance is not always a first time of hearing, especially if the notification concern works so built up of classical reminiscences as the compositions of Andreas Romberg. It is evident that a great deal of such music has originated in the desire to find entertainment and variety for players, without any consideration of their being brought before a public audience, or of having their musical merits subjected to a critical verdict in common with the greatest productions in the style The applause which such music obtains in private parties, from the performers themselves glowing with pleasure at their agreeable solos, is no infallible test of the fitness of these compositions for public hearing . Listeners to the quartet have obtained, through the standard of the classical masters, such an exalted ideal of that of that style, and have become so accustomed to excitement and a certain stretch of the faculties in the endeavour instantly to appreciate this poetical art, that nothing middling, or even second rate in it can be endured. The most entertaining solos, and exhibition passages fall flat on the hearer, when the thoughts themselves appear borrowed or trite. There is, therefore, a distinction to be drawn in this style between the music for players and the music for hearers. Not that the quartets of either Romberg or Fesca were deficient in occasional features and movements of interest. The march in A minor of the one, and the allegro and adagio of Fesca's quartet had merit, yet not of a high, concentrated, and sustained kind. Beethoven's quartet in D, Op. 18, which was beautifully played, showed the model music for an audience, and the intensity of the interest created amplified the meaning of Gluck in that famous passage of his about notes that draw blood. The pains taken in getting up the performances of the season reflect credit on Mr. Dando, and sustain his well-earned musical reputation. (Atlas, Saturday, 4 March 1848) (Also: Atlas, Saturday, 4 March 1848.)

MR. DANDO's THIRD QUARTET Concert was given on the evening of Monday, the 28th ult. We had intended to notice it long ere this, but were hindered by press of matter, and must now make the amends by giving the programme in full, and alluding to the performances seriatim. PART THE FIRST. Quartet in C major, No. 2 of op. 69, for two violins, viola, and violoncello, Messrs. Dando, Gattie, W. Thomas, and Lucas-A. Romberg. Song, Miss Messent, "A lonely Arab Maid" (Oberon)-Weber. Quartet, in B flat major, op. 14, for two violins, viola, and violoncello (first public performance in this country), Messrs. Dando, Gattie, W. Thomas, and Lucas-Fesca. PART THE SECOND. Grand Trio, in C minor, op. 66, for pianoforte, violin, and violoncello, Messrs. Lindsay Sloper, Dando, and Lucas-Mendelssohn. German Song Miss Messent, "See'st trou at even"-Kalliwoda. Quartet, in C major, op. 18, for two violins, viola, and violoncello, Messrs. Dando, Gattie, W. Thomas, and Lucas-Beethoven. Romberg's quartet was much liked, the Adagio especially, The composition has merit sufficient to warrant its introduction in the Quartet Concerts. Miss Messent sang Weber's song excellently. She was greatly and deservedly applauded. Fesca's quartet is an unequal work. The two first movements are monotonous and too long ; the subjects being so frequently repeated renders them devoid of interest. The two last movements, however, are well composed, and, being admirably played, created a favorable sensation. Mendelssohn's new trio - one of his most transcendent works - was certainly the gem of the evening, and produced an extraordinary commotion among the audience. The scherzo was encored in a hurricane of applause, and the last movement barely escaped an encore. The performance was absolutely perfect. The three executants seemed to throw their whole soul into the interpretation of this glorious composition ; and whether to award the palm of superiority to Mr. Dando, Mr. Lucas, or Mr. Lindsay Sloper it would be impossible for the nicest ear to determine. The great charm of Kalliwoda's song appears to us to be the violin obligato accompaniment, which Mr. Dando played with consummate taste and feeling, and with the most finished mechanism. Miss Messent gave the air with much sweetness and expression, which helped to elicit the encore that followed. The Beethoven quartet went splendidly throughout, and was a grand wind-up to a very superior entertainment. An apology was printed in the bills for Mr. Lockey, who was incapacitated from attending by a severe cold.--The fourth concert took place on Monday evening, the 20th instant. We supply the programme:- PART THE FIRST. Quartet, in C major, No. 77 (God save the Emperor) for two violins, and violoncello, Messrs. Dando, Gattie, W. Thomas, and Lucas - Haydn. Aria, Miss Dolby, "Per Pieta non ricercate" (Il curioso indiscreto) - Mozart. Quartet, in A, No. 1 of op. 74, for two violins, viola, and violoncello, Messrs. Dando, Gattie, W. Thomas, and Lucas-Spohr. Songs, Mr. Brandt, "Suleika" and "Auf Flugeln des Gesanges"- Mendelssohn. Quintet, in E flat minor, op. 87, for pianoforte, violin, viola, violoncello, and double bass, Madame Dulcken, Messrs. Dando, W. Thomas, Lucas, and C. Severn-Hummel. PART THE SECOND. Quartet, in F, No. 9, op. 18, for two violins, viola, and violoncello, Messrs. Dando, Gattie, W. Thomas, and Lucas-Mozart, Song, Miss Dolby, "Dear is my little native vale" - Lindsay Sloper. Quintet, in B flat major, op. 33, for two violins, viola, violoncello, and double bass, Messrs. Dando, Gattie, W. Thomas, Lucas, and C. Severn - Onslow. Haydn's quartet went capitally and was much applauded, especially the second movement, which has for its subject, "God save the Emperor," with variations. The variations were admirably played by Mr. Dando, and exhibited him as a first-rate master of his instrument. Mozart's song is one of his happiest, and Miss Dolby gave it with great feeling and irreproachable taste. Spohr's quartet dashes off like a mountain torrent. There is something wondrously captivating and exhilarating in the first movement. The hearers could hardly restrain their enthusiasm to the end. The last movement is singularly lovely. The performance was very fine. Mendelssohn's beautiful and sweetly pathetic song - the first - was rendered by Mr. Brandt, with considerable feeling and purity; the second song also well sung, was encored. Hummel's quintet was given with great effect. Mozart's quartet was more liked, and was applauded tumultuously after each movement. Mr. Lindsay Sloper's very elegant song, and Miss Dolby's charming singing, deserved the encore they obtained. The quintet is one of Onslow's best. The Andante is a very effective movement, and produced a decided impression; the finale is bold and ambitious. The quintet is exceedingly difficult for all the parts, and none but first-rate workmen can get through it with credit. But Mr. Dando has an admirable band, and no difficulties are insurmountable to them. The performance went off with éclat. The vocal music was, on both occasions, accompanied on the pianoforte by Mr. Lindsay Sloper, and on both occasions the room was full. The next meetings take place on April 3rd and 24th. (The Musical World, Saturday, 25 March 1848)

Tuesday, 29 February 1848 : The Melodists' Club's Meeting at Freemasons' Tavern, Great Queen-Street.

Melodists. - The second meeting of this social club was held on Tuesday, at the Freemasons' Tavern, Edward Goldsmid, Esq, in the chair. Several vocal concerted pieces were sung, and songs by Mr. Machin (who gave Loder's "Philip the Falconer," extremely well) and Francis; the latter sang Dibdin's " Poor Jack," which elicited very great applause. A requiem was performed, as a tribute to the memory of the late W. T. Cooke, who was one of the original members of the club. Messrs. Carte and Lazarus played brilliant solos on the flute and clarionet accompanied on the pianoforte by Mr. Lindsay Sloper, who in the course of the evening, performed a couple of Mendelssohn's songs, without words, in the most masterly manner, and was rapturously applauded by the company. The venerable chairman, in returning thanks after his health was drunk, stated that, although in his 84th year, to convince those present that he was anxious to contribute to the harmony of the evening, he would sing a couple of stanzas from an ancient ditty, which he did with extraordinary spirit. (Morning Post, Thursday, 2 March 1848)

MELODISTS.-The second meeting of this convivial society, went off brilliantly, Edward Goldsmid Esq., an octogenarian, and something more, presiding. Vocal pieces were sung by honorary members, and Lindsay Sloper delighted the company by his exquisite rendering of a couple of Mendelssohn's songs without words, on the pianoforte. Mr. Carte played a fantasia on the flute, and Mr. Lazarus a solo on the clarionet, (accompanied by Mr. Sloper) excellently; and the evening passed off in the most agreeable manner. The candidates for the prize offered by the Duke of Cambridge, have sent in their compositions, and the adjudication will take place shortly. (The Musical world, Saturday, 18 March 1848)

Thursday, 2 March 1848 : Mr. Lindsay Sloper's Second Soirée of Pianoforte Music at Willis's Rooms, King-Street, St. James's.

MR. LINDSAY SLOPER'S SECOND SOIREE of PIANOFORTE MUSIC will take place at Willis's Rooms, on THURSDAY EVENING next, March 2, to commence at Half-past Eight o'clock precisely. Mr. Sloper will be assisted by the Misses Pyne, Herr Brandt, Messrs Dando and Rousselot. -Family Tickets (to admit three) One Guinea each and Single Tickets, Half a Guinea each, may be had at the principal music sellers; and of Mr. Lindsay Sloper, 7 Southwick place, Hyde-park-square. The Third and last soirée on March 16th. (Atlas, Saturday, 26 February 1848)

MR. LINDSAY SLOPER'S SECOND SOIREE of PIANOFORTE MUSIC will take place at Willis's Rooms, To-morrow EVENING, March 2, to commence at Half-past Eight o'clock precisely. Mr. Sloper will be assisted by the Misses Pyne, Herr Brandt, Messrs Dando and Rousselot. -Family Tickets (to admit three) One Guinea each and Single Tickets, Half a Guinea each, may be had at the principal music sellers; and of Mr. Lindsay Sloper, 7 Southwick place, Hyde-park-square. The Third and last soirée on March 16th. (Morning Chronicle (1801), Wednesday, 1 March 1848)

Mr. Lindsay Sloper's Second Soirée at Willis's Rooms.- This fashionable place of resort was filled last night with a very distinguished audience, who testified to the highest degree the estimation in which Mr. Lindsay Sloper is held by the numerous admirers of his talents, as a first-rate pianist. On this occasion his second soirée of piano-forte music was given, and several compositions new to the London dilettanti were performed. Throughout the whole of the programme the attention and delight of the lovers of music did not flag for a moment. The principal novelties were four short pieces by Lulli, composed in 1670. The first, and last - the " Allemand," and " Gigue," in E minor - we admired the most. A new trio, in B flat, was performed for the first time, by Messrs. Lindsay Sloper, Dando, and Rousselot, for piano, violin, and violoncello. This, we understand, is one of Spohr's last compositions. We particularly admired the second movement for its brilliancy, and the last for its bold dashing style. It was given in the most effective manner. Mr. Lindsay Sloper was assisted by Herr Brandt, who sung Mendelssohn's charming song, " Suleika," with great taste - and the Misses Pyne, who were encored in a duet by Clari " Cantando un di," a quaint and exquisite composition. (Morning Post, Friday, 3 March 1848)

CONCERTS. MR. LINDSAY SLOPER's second soirée of pianoforte music was held at Willis's Rooms, on Thursday week. There were several new features in the programme, of which the most important will at once be recognised to be a trio of Spohr's, being its first time of performance. The announcement of this interesting novelty drew a great many of the dilettanti to Willis's Rooms on Thursday, and awakened general curiosity. The programme follows:- PART I. Sonata, op. 96, in G major, for pianoforte and violin, Messrs. Lindsay Sloper and Dando-Beethoven. Suite de Pieces, (Allemande, air Courante, and Gigue) in E minor, pianoforte, Mr. Lindsay Sloper-Lulli (A.D. 1670). Duet, "Cantando undi," the Misses Pyne-Clari. Seventeen Variations serieuses, pianoforte, Mr. Lindsay Sloper- Mendelssohn. PART II. New Trio (the Fourth), op. 133, in B flat major, for pianoforte, violin, and violoncello, Messrs. Sloper, Dando, and Rousselot - Spohr. Arabesque and Nocturne, pianoforte, Mr. Lindsay Sloper-R. Schumann. Song, "Zuleika," Herr Brandt-Mendelssohn. Second Tarantella (unpublished), pianoforte, Mr. Lindsay Sloper-Stephen Heller. Beethoven's grand sonata was finely played. Both executants surpassed themselves. Mr. Dando is a powerful exposito of the large school of violin compositions. He is a thoroughly classic performer, surpassed by few in his interpretation of such music as that of Mozart, Beethoven, Mendelssohn, and Spohr. The Courante and Gigue of old Lulli was delicately played by Mr. Lindsay Sloper, and keenly relished by the audience. He played the Gigue, perhaps, a trifle too quick, but in the acceleration of the time did not lose a single emphasis, or a single accent. Though rapid, all was articulated and distinct. The duet from Clari, very nicely sung, provoked an encore. In Mendelssohn's seventeen variations, Mr. Sloper not only exhibited his brilliancy of touch and rapidity of execution, but showed himself master of the best style of pianoforte playing. The last variation was an extraordinary display of celerity in fingering. The new trio of Spohr opened the second part. The first movement, an allegro, full of delicious melody, fresh, exhilarating, and admirably worked out; the reprises are beautifully managed, and the instrumentation full of new and masterly effects. - The first movement over, a murmur of praise and favourable criticism ran through the audience. According to all, Spohr had newly imbibed the waters of rejuvenescence. The minuetto evidences the peculiarity of Spohr's genius, but is hardly so much as the allegro, a spontaneous inspiration. It presents some highly effective passages for the pianoforte, which were interpreted by Mr. Sloper in a masterly manner. The adagio is an exquisite movement, the subject clear and elegant, and varied in the most charming manner possible; the dialoguing of the violin and violoncello is managed with the happiest effect. The entire movement is in every way worthy of Spohr's genius in its loftiest moments. The last movement, Presto, is as bright and fleeting as a flash of lightning. We shall have occasion by-and-bye to speak more largely of this work; at present we can hardly allude to it impartially, so deeply were we impressed with it on a first hearing. The trio gave the most intense delight to all present, and there was but one opinion expressed as to its merits. Mr. Lindsay Sloper must be congratulated on having been the first to introduce it to the public. We must be brief with the remaining portion of the scheme. Schumann's Arabesque and Nocturne were elegantly interpreted by Mr. Lindsay Sloper. Mr. Brandt gave Mendelssohn's song with nice feeling and was encored. In its place, however, he substituted another. This is a custom prevalent now-a-days, but it is a custom more honoured in the breach than the observance. For what else does it mean than this-"the audience have encored me, the singer, not him, the composer- argal, they desire to hear my voice, not his music-so shall they have more of it than they had, &c. &c." When John Parry gags it thus, it is all right. John Parry knows his songs lose nothing by not being repeated, and he knows too- he must know it - it is in reality his singing and playing that are the things encored. But with Mendelssohn the case is very different. Stephen Heller's Tarantella is admirable. It is as brisk as a bee and light as a fairy, with no small portion of the honey of the one, and the etherial grace of the other. It was encored with acclamations - an encore fairly divided - the composition claiming one half the merit, and the performance the other. It was a brilliant close to a brilliant concert. (The Musical world, Saturday, 11 March 1848)

CONCERTS. MR. LINDSAY SLOPER's second soirée of pianoforte music was held at Willis's Rooms, on Thursday week. There were several new features in the programme, of which the most important will at once be recognised to be a trio of Spohr's,being its first time of performance. The announcement of this interesting novelty drew a great many of the dilettanti to Willis's Rooms on Thursday, and awakened general curiosity. The programme follows:- PART I. Sonata, op. 96, in G major, for pianoforte and violin, Messrs. Lindsay Sloper and Dando-Beethoven. Suite de Pieces, (Allemande, air Courante, and Gigue) in E minor, pianoforte, Mr. Lindsay Sloper-Lulli (A.D. 1670). Duet, "Cantando undi," the Misses Pyne-Clari. Seventeen Variations serieuses, pianoforte, Mr. Lindsay Sloper- Mendelssohn. PART II. New Trio (the Fourth), op. 133, in B flat major, for pianoforte, violin, and violoncello, Messrs. Sloper, Dando, and Rousselot - Spohr. Arabesque and Nocturne, pianoforte, Mr. Lindsay Sloper-R. Schumann. Song, "Zuleika," Herr Brandt-Mendelssohn. Second Tarantella (unpublished), pianoforte, Mr. Lindsay Sloper-Stephen Heller. Beethoven's grand sonata was finely played. Both executants surpassed themselves. Mr. Dando is a powerful exposito of the large school of violin compositions. He is a thoroughly classic performer, surpassed by few in his interpretation of such music as that of Mozart, Beethoven, Mendelssohn, and Spohr. The Courante and Gigue of old Lulli was delicately played by Mr. Lindsay Sloper, and keenly relished by the audience. He played the Gigue, perhaps, a trifle too quick, but in the acceleration of the time did not lose a single emphasis, or a single accent. Though rapid, all was articulated and distinct. The duet from Clari, very nicely sung, provoked an encore. In Mendelssohn's seventeen variations, Mr. Sloper not only exhibited his brilliancy of touch and rapidity of execution, but showed himself master of the best style of pianoforte playing. The last variation was an extraordinary display of celerity in fingering. The new trio of Spohr opened the second part. The first movement, an allegro, full of delicious melody, fresh, exhilarating, and admirably worked out; the reprises are beautifully managed, and the instrumentation full of new and masterly effects. - The first movement over, a murmur of praise and favourable criticism ran through the audience. According to all, Spohr had newly imbibed the waters of rejuvenescence. The minuetto evidences the peculiarity of Spohr's genius, but is hardly so much as the allegro, a spontaneous inspiration. It presents some highly effective passages for the pianoforte, which were interpreted by Mr. Sloper in a masterly manner. The adagio is an exquisite movement, the subject clear and elegant, and varied in the most charming manner possible; the dialoguing of the violin and violoncello is managed with the happiest effect. The entire movement is in every way worthy of Spohr's genius in its loftiest moments. The last movement, Presto, is as bright and fleeting as a flash of lightning. We shall have occasion by-and-bye to speak more largely of this work; at present we can hardly allude to it impartially, so deeply were we impressed with it on a first hearing. The trio gave the most intense delight to all present, and there was but one opinion expressed as to its merits. Mr. Lindsay Sloper must be congratulated on having been the first to introduce it to the public. We must be brief with the remaining portion of the scheme. Schumann's Arabesque and Nocturne were elegantly interpreted by Mr. Lindsay Sloper. Mr. Brandt gave Mendelssohn's song with nice feeling and was encored. In its place, however, he substituted another. This is a custom prevalent now-a-days, but it is a custom more honoured in the breach than the observance. For what else does it mean than this-"the audience have encored me, the singer, not him, the composer- argal, they desire to hear my voice, not his music-so shall they have more of it than they had, &c. &c." When John Parry gags it thus, it is all right. John Parry knows his songs lose nothing by not being repeated, and he knows too- he must know it - it is in reality his singing and playing that are the things encored. But with Mendelssohn the case is very different. Stephen Heller's Tarantella is admirable. It is as brisk as a bee and light as a fairy, with no small portion of the honey of the one, and the etherial grace of the other. It was encored with acclamations - an encore fairly divided - the composition claiming one half the merit, and the performance the other. It was a brilliant close to a brilliant concert. (The Musical World, Saturday, 11 March 1848)

Tuesday, 7 March 1848 : Madame Anna Thillon's Benefit and Last Appearance Concert at Princess's Theatre, Oxford-Street.

PRINCESS'S THEATRE. Madame ANNA THILLON has the honour to announce that her BENEFIT and LAST APPEARANCE will take place TO-MORROW, Tuesday, March 7, when will be performed, by desire and under the immediate patronage of his Royal Highness the Duke of Cambridge, Sheridan's Comedy of THE SCHOOL FOR SCANDAL, in which Madame Anna Thillon will attempt the character of lady Teazle. After which, a CONCERT, by the following eminent Artistes:- Miss Dolby, the Misses Pyne, and Madame Anna Thillon; Mr. Richardson. Mr. Lindsay Sloper, and the Messrs. Distin, who will perform a Quartette on the Sax Horns To conclude with (last time) THE YOUNG GUARD; Estelle, Madame Anna Thillon, positively her last appearance. (Morning Post, Monday, 6 March 1848)

PRINCESS'S THEATRE. OXFORD-STREET. For the Benefit of Madame Anna Thillon. THIS EVENING will be performed the Comedy of THE SCHOOL FOR SCANDAL. Sir Peter Teazle, Mr. Compton ; Charles Surface, Mr. J. Vining; Joseph Surface, Mr. Cooper ; Lady Teazle, Madame Anna Thillon; Mrs. Candour, Mrs. Selby. After which A CONCERT, in which Miss Dolby, the Misses Pyne, Madame Anna Thillon, Mr. Richardson, Mr. Lindsay Sloper, and the Messrs. Distin will appear. To conclude with the Operetta of THE YOUNG GUARD. Principal characters by Mr. Bodda, Mr. Barker, Mr. Wynn, Miss Sara Flower, and Madame Anna Thillon. (Morning Post, Tuesday, 7 March 1848)

Thursday, 16 March 1848 : Mr. Lindsay Sloper's Third (Last) Soirée of Pianoforte Music at Willis's Rooms, King-Street, St. James's.

WILLIS'S ROOMS, SAINT JAMES'S. MR. LINDSAY SLOPER'S NEXT SOIREE OF PIANO-FORTE MUSIC. SEASON 1848, WILL TAKE PLACE AT THE ABOVE ROOMS, On THURSDAY, March 16, To commence at half past Eight o'clock precisely. Subscription Tickets for the Series, or Family Tickets (to admit three to one Soirée) One Guinea each ; and Single Tickets, Half-a-Guinea each, may be had of all the principal Music-sellers ; and of Mr. Lindsay Sloper, 7, Southwick Place, Hyde Park Square. (The Musical world, Saturday, 11 March 1848)

MR. L. SLOPER'S SOIREES.-The last of the series of classical and musical Soirées, given by Mr. Lindsay Sloper, took place last night at Willis's Rooms, before a very crowded audience. Mr. Sloper, one of our best pianists and composers, performed as usual, a highly interesting selection of pieces, amongst which were specimens from the works of Hummel, Couperin, Beethoven, Mendelssohn, Stephen Heller, and himself. The most striking features in this performance were the E minor sonata of Beethoven, the duet for piano and violoncello of Mendelssohn, in which M. Rousselot played the violoncello part with great ability, and two very interesting specimens from Stephen Heller, a Composer as yet but little known in this country. In each of these pieces Mr. Sloper displayed his abilities as an accomplished pianist, equal to the requirement of every variety of style. The concert was diversified by songs of Mozart and Sterndale Bennett, ably sung by Miss Bassano, and Miss Ransford, a young and rising vocalist. (Morning Chronicle (1801), Friday, 17 March 1848)

Mr. Lindsay Sloper. - The third soirée of pianoforte music was given by this accomplished pianist on Thursday night at Willis's Rooms. (Illustrated London News, Saturday, 18 March 1848)

Mr. Lindsay Sloper's last of three soirées of pianoforte music, at Willis's Room, was very fully attended. We had again a piece of the antiquated school of playing, called "An Allemande Courante et Chaconne, by F. Couperin, Organist to Louis XVI., 1713," which is not remarkable for any beauties. Mr. Sloper gave us also the Beethoven Sonata in E Minor Op. 90, in splendid style ; the last movement (andante) is in the author's happiest vein. A Nocturne, by S. Heller, was also admirably performed by Mr. Sloper, and showed his powers of execution to advantage: the duet for violoncello and piano (Mendelssohn), was not satisfactory ; it contains too many difficulties for the bass, in fact it is more like violin music, a fault too common now both in writers and players, by which the character of the instrument is lost; it was played by Sloper and Rousselot. Miss Bassano and Miss Ransford sang, and afforded a pleasing change to the evening's amusement. (The Literary gazette : A weekly journal of literature, science, and the fine arts, Saturday, 18 March 1848)

CONCERTs OF CHAMBER MUSIC.-Mr. Lucas held the first of his series on Wednesday.-Mr. L. Sloper his last on Thursday. This gentleman does himself credit by the variety of music he selects for performance. This comprised a MS. Introduction and Rondo for two pianofortes by Hummel, Madame Dulcken taking the first instrument - an Allemande, Courante, and Chacone by Couperin. - Beethoven's solo Sonata, Op. 90 - Mendelssohn's second Duett with violoncello (in which M. Rousselot played less steadily than his wont) - a beautiful and original Nocturne by Stephen Heller; also a Scène pastorale. This composer's music deserves to be better known, for its picturesqueness without extravagance. Lastly, Mr. Sloper played a very clever and original Mazurka of his own composition; and Chopin has made it difficult for any one to write originally in the very limited and somewhat baroque measures of this national dance. We cannot part from these soirées without remarking the advance which Mr. Sloper has made in power and in expression since last year. He seems resolved to run a tilt against Mr. W. S. Bennett for the English championship of the Pianoforte. Few things are pleasanter than to see, as in his case, enterprise in research seconded by careful preparation. (The Athenaeum, Saturday, 18 March 1848)

Among the soirée musicales of the season we must not omit mentioning those of Mr Lindsay Sloper. This clever pianist has had the commendable boldness to introduce to a modern audience some very beautiful compositions or Couperin and Lulli, which, together with their authors, were covered with the dust and neglect of ages, though well worthy to be placed in juxtaposition with modern writings of extremely high pretensions. (Brighton Gazette, Thursday, 23 March 1848)

MR. LINDSAY SLOPER's third and last soirée of pianoforte music was held on Thursday, at Willis's Rooms, St. James's. The first and second of these musical reunions have already won from us high commendation, no less on account of the excellence of the performance than the sound judgment and good taste shewn in the selection. The programme of the last soirée evinced the same musical feeling and discrimination. Let the reader judge:- Duet, MS., in E flat major, for two pianofortes, Madame Dulcken and Mr. Lindsay Sloper-Hummel. Allemande, Courante, and Chaconne, in C minor, pianoforte, Mr. Lindsay Sloper-F. Couperin. Aria, Miss Bassano, "La Clemenza di Tito''-Mozart. Sonata, op. 90, in E minor, pianoforte, Mr. Lindsay Sloper-Beethoven. Duet, op. 58, in D major, for pianoforte and violoncello, Messrs. Lindsay Sloper and Rousselot-Mendelssohn. Nocturne, from op. 16, in C sharp minor, and Scene Pastorale, op. 50," No. 1, in A major, pianoforte, Mr. Lindsay Sloper-Stephen Heller. Songs, Miss Ransford, the "May Dew," and "Gentle Zephyr"-W. Sterndale Bennett. Mazurka, from op. 5, in A minor, and Study, à la Tarantella, in E minor, pianoforte, Mr. Lindsay Sloper-Lindsay Sloper. Hummel's duet was admirably played, and afforded the excellent performers an opportunity of exhibiting their different styles, the brilliancy of Mad. Dulcken's execution being happily set-off by the energy of that of Mr. Sloper. The Allemande, Courante, and Chaconne, though interpreted with considerable power, did not catch the sympathies of the audience. It must be owned the composition is something too antiquated, and smacks of its period of birth-the year of our Lord, 1749, when Couperin, who was the organist to Louis the Fourteenth, wrote it. It is, however, sufficiently quaint and curious, but offers no more appropriate recommendation to warrant its introduction into a classical chamber concert. Mozart's aria was well given by Miss Bassano. Her vocalization was that of an artist, and her interpretation was that of one who had reverence for the author. Beethoven's sonata is no mean trial for a pianist of pretensions. The Vivace abounds in recondite difficulties, which no mere key-splitter could hope to surmount; while the Andante proffers itself as a test of the highest expression, and the finest taste compassable in pianoforte playing. Mr. Lindsay Sloper mastered the Vivace with the greatest ease, and interpreted the Finale (curiously marked Andante) with a feeling and a delicacy of sentiment hardly to be excelled. Nor have we less praise to bestow on the pianist in Mendelssohn's splendid duet, where elaborate difficulties and ravishing beauties go hand in hand, in which likewise the masterly playing of M. Rousselot comes in for a large share of commendation. The two pieces of Stephen Heller are admirably written and full of character; the former melancholy and sentimental, the latter lively and pastoral; they were both played in first-rate style, and the immense difficulties of the Pastorale accomplished with wonderful precision and neatness. Miss Ransford obtained a very deserved encore in Bennett's "Gentle Zephyr," one of the very loveliest canzonets ever penned, and sang the charming "May Dew" very pleasingly. Mr. Sloper, with the modesty of a true artiste, concluded his soirée with the only two pieces of his own composition which found a place in the programme. We like both much, but while the Mazurka is chiefly attractive from its quaintness, the Tarantella bears all the impress of a musician's hand, and is equally commendable on the score of intrinsic beauty. Of course Mr. Sloper executed them both to perfection. The room was so crammed, that after a certain time it was impossible to find even standing place. (The Musical world, Saturday, 25 March 1848)

MR. SLOPER'S CONCERT. - Among the musical meetings of the month, we must include the third piano-forte soirée of Mr. Lindsay Sloper, which took place at Willis's Rooms. This was the last of a series of three concerts given by this gentleman to his friends. It may be remembered that Mr. Lindsay Sloper was a favourite pupil of the celebrated Moscheles, who seems to have infused a good deal of his style into the play of his pupil. As it was specified on the bills, the entertainment consisted chiefly of pianoforte performances - the monotony being varied by two songs, and a duet with violoncello. The first piece was a brilliant duet between two pianofortes, Madame Dulcken and Mr. Lindsay Sloper being the artistes. It was well received. Of Mr. Lindsay Sloper's performance, nothing more need be said, save that it was creditable and displayed considerable acquirement; but the selection was faulty, and Mr. Sloper should have varied the entertainments more pleasingly. However, the thing went off well, and the audience was very numerous and fashionable. (Hood's magazine, Saturday, 1 April 1848)

MR. LINDSAY SLOPER'S PIANOFORTE SOIRÉES. On Thursday evening, the 16th inst., was given the last of the series of these most interesting soirées - interesting, from having presented us with some of the most beautiful specimens of the great masters, and various compositions, unknown to us, of Jean Baptiste Lully and Francois Couperin. The programme was comprised of Hummel, Couperin, Beethoven, Mozart, Mendelssohn, Bennett, Heller, and Lindsay Sloper. A beautiful MS. duett of Hummel's, for two pianofortes, was most efficiently executed by Madame Dulcken and Mr. Lindsay Sloper, and Beethoven's lively sonata in E minor proved how truly Mr. Sloper is imbued with the spirit of that "Shakspere or Michael Angelo of music." It is the true legitimate playing. No exaggeration or striving to produce effects where the composer has not introduced them ; but classical and unforced feeling is displayed throughout. Mr. Sloper is also much to be commended for searching after novelties, which each of his programmes has afforded. A duett of Mendelssohn's, for piano and violoncello, much delighted us from the truly artistic manner in which it was rendered by Messrs. Sloper and Rousselot. The "Allemande" of Couperin, most quaint and pleasing, seemed, by the applause which was bestowed upon it by the audience, to be much relished, as was also the beautiful nocturne and scene pastorale of Heller. Miss Bassano sang sweetly an aria from La Clemenza di Tito; and Miss Ransford two songs of Sterndale Bennett's, in the latter of which she obtained an encore. The evening concluded with a charming Mazourka and study, alla Tarantella, by Mr. Sloper, whose compositions always display that classical elegance and scientific construction which place our talented countryman upon so high a standard of musical eminence. (The Mirror monthly magazine, Saturday, 1 April 1848)

In den Plaudereien aus London, welche die ,,Grenzboten" bringen, heißt es: "Auch Vergnügungen haben wieder angefangen, die italienische Oper wird, von Hrn. Lumley geleitet, aufs Neue ihren alten Glanz entfalten, und den gefallenen Fürsten den Lüstre ihrer früheren Lebenstage heiter und ernst vor das Auge führen, Thalberg hat in Exeter-Hall ein Concert gegeben, in welchem er die chevaux de Bätaille früherer Jahre mit gemischtem Beifall vortrug, und alle Jene mit Entzücken erfüllte, die früher nicht dagewesen waren, oder noch in der Wiege geschlummert hatten. Wie lebhaft erinnert dies an eine Erzählung von Luise Mühlbach, wo sie so trefflich den Künstler schildert, der nur fünf Stücke spicite, und darauf von Ort zu Ort reiste. Der junge Pianist, Herr Lindsay Sloper, gab am 16ten März seine dritte Soirée musicale, die zahlreich besucht war, und wobei die Wahl seiner Stücke und sein geschmackvoller Vortrag allgemeine Befriedigung gewährten. Madame Dulfen spielte gleich zuerst ein sehr hübsches Duett für zwei Claviere mit ihm, das, als eine ihr gehörende Manuscript-Musik, ein neuer Genuß für die Hörer war. Die nach Brod gehende Kunst hat eine dornige Bahn, - hier, wie überall, - und eine kleine Beisteuer an hülfreicher Ermuthigung ist für einen verdienstvoll strebenden jungen Mann eine wünschenswerthe Mitgabe. - Meyerbeer wird sehr ersehnt, ohne Hoffnung gegeben zu haben, die musikalische Welt durch seine Erscheinung zu erfreuen; man rechnet dafür desto sicherer auf David, den Leipzig einige Zeit entbehren könnte, damit the world at large von seinem seltenen Talente profitire, das dort wie ein vergrabener Schatz den Augen verborgen liegt. - Madame Dulfen hat ihre Matinées musicales begonnen, bei denen sie sich die preiswürdige Aufgabe gesetzt, den alten Meistern und einer classischen Musik Eingang zu verschaffen. Die englische Welt weiß, daß dies der bessere Geschmack ist, und fürchtet sich daher zu bekennen, daß sie bei weitem einige Polkas vorziehen würde; die Folge ist, daß man der guten Musik zuhört, daß man sie duldet, und am Ende, à force de l'entendre, sie lieben wird. Dies wenigstens hofft Madame Dulken und mit ihr die ganze deutsche Künstlerwelt, der die Harmonie etwas und nicht der Effect allein Alles ist. Ein paar Claviere zerschlagen ist keine so schwierige Aufgabe, aber selbst nur eine Saite springen zu lassen, um ihre Hörer zu überraschen, hat Madame Dulken verschmäht. Ihre Matinées beginnen um 3 Uhr und dauern bis 5 Uhr; ihr geräumiges Haus in Harley Street kann eine bedeutende Anzahl Zuhörer fassen, die aber nur aus Damen bestehen, von denen ihre Schülerinnen einen Theil ausmachen. Madame Dulken trug in der ersten Matinée mehrere Trios vor, in denen Hausmann sie begleitete, der auf seinem Violoncello immer fertiger wird und jetzt auch nicht mehr durch sein langes Haar die Führung seines Bogens gehemmt sieht. - John Parry gab den beliebten burlesken Gesang "Miss Harriet and her Governéss", und Miß Wallace, die neue Sängerin, trug "Dove sono" vor. Bei der zweiten Matinée, wo die Räume gedrängt voll waren, spielte Madame Dulken ein Quintuor von Spohr, begleitet von Willy, Goschwin, Hill und Hausmann, mit unübertrefflicher Fertigkeit, Grazie und Ausdruck. Auch schien es, daß sie selbst davon befriedigt war, und mit Recht durfte sie es sein. Hr. Ciabatta, ein sehr schöner Mann, sang mit Miß Birch "O du Geliebte" von Nicolai, und betonte die Worte so gut und sang mit so deutschem Ausdruck und Gefühl, daß man sich fragte, ob der Name der seines Vaters oder der seiner Wahl sei, denn Sänger und Sängerinnen sind häufig Wiedertäufer; seine Mitsängerin ließ keine Zweifel der Art aufkommen." (Neue Zeitschrift für Musik, Tuesday, 25 April 1848) (Also: Die Grenzboten., 7. jahrg., bd. 1 (1848)., Sunday, 31 December 1848.)

Wednesday, 12 April 1848 : Mr. Brandt's First Soirée Musicale at Willis's Rooms, King-Street, St. James's.

MR. BRANDT has the honour to announce that he will give a SOIREE MUSICALE, at WILLIS's ROOMS, KING-STREET, ST. JAMES'S, on WEDNESDAY, April 12, 1848. Vocalists - Miss Dolby, Mrs. Brandt and Mr. Brandt. Instrumentalists - Messrs. Benedict, Sloper. Willy, and Rousselot. Single Tickets, 10s. 6d. each, and Family Tickets (to admit Three), 1l. 1s.; may be had of all the principal Musicsellers, and of Mr. Brandt,7, Holland-place, Kensington. (The Athenaeum, Saturday, 18 March 1848) (Also: The Athenaeum, Saturday, 25 March 1848.)

Willis's Rooms, King Street, St. James's. MR. BRANDT Has the honour to announce that he will give a SOIREE MUSICALE, at the above Rooms, on WEDNESDAY, APRIL 12th, 1848, to commence at eight o'clock precisely. Mr. BRANDT will be assisted by several eminent Artistes. Conductors, Messrs. Benedict and Lindsay Sloper. - Single Tickets, Half a Guinea; Family Tickets (to admit three), One Guinea may be obtained of all the principal Musicsellers, and of Mr. BRANDT, 7, Holland-Place, Kensington. (The Musical world, Saturday, 25 March 1848) (Also: The Musical world, Saturday, 1 April 1848; The Musical world, Saturday, 8 April 1848.)

MR. BRANDT'S FIRST SOIREE MUSICALS, at Willis's Rooms, King-street, St. James's, [on April 12th] to commence at Eight o'clock precisely. Vocalists Miss Dolby, Miss H. Taylor, Mrs. Brandt, Mr. J. A. Novello, Mr. Brandt. Instrumentalists - Messrs. Benedict, Lindsay Sloper, Willy, and Rousselot. Tickets and programmes may be had at Messrs. Charles and Robert Olivier's, New Bond-street, and at all the Principal Musicsellers. (Morning Post, Thursday, 6 April 1848)

THIS EVENING:- MR. BRANDT'S FIRST SOIREE MUSICALS, at Willis's Rooms, King-street, St. James's, to commence at Eight o'clock precisely. Vocalists Miss Dolby, Miss H. Taylor, Mrs. Brandt, Mr. J. A. Novello, Mr. Brandt. Instrumentalists - Messrs. Benedict, Rousselot, Willy, and Lindsay Sloper. Tickets and programmes may be had at Messrs. Charles and Robert Olivier's, New Bond-street, and at all the Principal Musicsellers. (Morning Post, Wednesday, 12 April 1848)

Mr. BRANDT'S CONCERT.-Last evening a Soirée musicale was given by Mr. Brandt at Willis's Rooms, The entertainment consisted chiefly of vocal pieces, accompanied on the pianoforte by Mr. Benedict and Mr. Lindsay Sloper. It began with the charming trio "Mi lasci, o Madre," from Winter's "Proserpina," sung by Mrs. Brandt, Miss Dolby and Mr. Brandt. The revival of this and the other beautiful operas which Winter composed in this country expressly for Billington and Grassini would be refreshing to ears fatigued with the noise and emptiness of Signor Verdi. Mr. and Mrs. Brandt then sang an elegant little duet of Spohr's. Their voices, -the one soprano and the other a tenor are of excellent quality, and they sing with much expression and perfect purity of style. -A "caprice brilliant" by Heller, played by Mr. Lindsay Sloper, was an egregious specimen of the present vitiated musical school - one of those things which make fashionable pianoforte playing one of the social nuisances of the day. 'It was a noisy clatter of unmeaning notes, without a gleam of melody or, expression, abundantly difficult, to be sure, but unfortunately not so difficult as to be altogether impossible. Mozart's beautiful "Al desio," sung by Miss Dolby with much sweetness and simplicity, was a relief to the ear after such an infliction. Mendelssohn's two, German songs, "Sonntagslied," and " Auf flugeln des Gesanges," were admirably sung by Mr. Brandt. They were followed by Benedict's pretty duettino "Night on the lake," sung by Mrs. Brandt and Miss Dolby and Mozart's comic quintetto, "Hm, Hm, perchementi," concluded. the first part of the concert. In the second part,. Mendelssohn's grand trio in C minor, ,for piano, violin, and, Violoncello, .was vigorously executed by Messrs .Lindsay Sloper, Willy, and Rousselot. Mrs. Brandt sang Haydn's famous canzonet, "She never told her love," with such beauty of voice, pure taste, and fine expression. (judiciously abstaining from the introduction of a single note by way of embellishment) that it received a loud and unanimous encore. Mr. Brandt was equally successful in his performance of a manuscript by Haydn, the lamentation of Orpheus for the loss of Eurydice; a composition sufficient of itself to confute the opinion that Haydn was unable to write with passion;. Mr. Brandt sang it with English words, and his clear and emphatic declamation might have been a lesson to many of. our native singers. Two of Mendelssohn's well known two part songs from his op. 63 were excellently sung by Mrs. Brandt. and Miss Dolby; and a little Italian duet by Haydn, sung by Mr. and Mrs. Brandt, terminated a very agreeable concert. (Daily News, Thursday, 13 April 1848)

Willis's Rooms.- Mr. Brandt gave a soirée musicale last night, when an admirable selection of music was performed, chiefly from the works of German composers. The concert began with a terzetto by Winter, "Mi lasci o madre," which was admirably sung by Mrs. Brandt, Miss Dolby and Mr. Brandt. A caprice for the pianoforte, by S. Heller, was performed by Mr. Lindsay Sloper with grace, elegance, and purity of style : this composition is remarkable for its brilliancy, to which Mr. L. Slower did ample justice. Miss Dolby's singing of Mozart's "Al desio," from Figaro, is so well known, that we shall merely say she never sung it better The classical style in which Mr. Brandt sung the two songs by Mendelssohn, the " Sontagslied" and "Auf Flugeln," was the theme of universal commendation. The second part of the concert opened with Mendelssohn's grand trio in C minor, which was rendered by Messrs L. Sloper, Willy and Rousselot with the most charming light and shade. There is a solid grandeur in this exquisite composition which seemed to inspire the trio who played it. Mrs. Brandt sung the lovely canzonet by Haydn, "She never told her love," with exquisite pathos, and was deservedly encored. A solo on the violoncello by M. Rousselot earned great and well-deserved applause. The two part songs. " Grusa " and " Hersthed," by Mendelssohn, were deliciously given by Miss Dolby and Mrs. Brandt. The first part of the concert was conducted by M. Benedict, and the second by Mr. Lindsay Sloper, with their usual excellence The room was (Morning Post, Thursday, 13 April 1848)

Willis's Rooms. - A concert was given at these rooms last night by Mr. Brandt, a German vocalist of some repute in the metropolis. The selection was better chosen than usual. The vocal pieces consisted of songs, duets, and trios, by Mendelssohn, Spohr, Haydn, Mozart, and Benedict, sung by Mr. and Mrs. Brandt, Miss Dolby, Miss H. Taylor, and Mr. J. A. Novello, M. Benedict and Mr. Lindsay Sloper presiding at the pianoforte. (The Standard, Thursday, 13 April 1848)

Mr. Brandt's Soiree.-Mr. Brandt, a German tenor, resident in London, gave agreeable concert on Wednesday, at Willis's Rooms, the programme exhibiting better order of musk; than is generally displayed at these undertakings of private speculators. The names of Mendelssohn, Spohr, Haydn, Mozart, Benedict, Winter, &c., appeared in the scheme. Mr. Benedict and Mr. Lindsay Sloper officiated as accompanyists. Mendelssohn's trio in C minor was charmingly played by Mr, Sloper (piano), Mr. Willy (violin) and M. Rousselot (violoncello), and Mr. Sloper also executed a caprice, by S. Heller, a composer fame resident in Paris. Mrs. Brandt sang Haydn's canzonet, She never told her love, unaffectedly as to command encore. Miss Dolby gave Mozart's 1 desio" beautifully. Miss H. Taylor and Mr. J. A. Novello were the other vocalists. There was a good attendance. (Illustrated London News, Saturday, 15 April 1848)

CONCERTS. MR. AND MRs. BRANDT's Soirée Musicale at Willis's Rooms, on Wednesday Evening, was fully and elegantly attended. The programme and performances gave evident satisfaction. The only encore was Haydn's canzonet, "She never told her love," charmingly sung by Mrs. Brandt. It afforded us great pleasure to find this lady's voice after so long an illness quite restored. It told exceedingly well in Spohr's beautiful duettino "Is there a vale," aided by the pleasing voice of Mr. Brandt. Mr. and Mrs. Brandt also joined in a trio by Winter and the quintett from Figaro. We must not omit Mr. Brandt's songs, "All through the wood," and "On songs bright pinions" (Sontags and Fruhlingslied), two gems by the immortal Mendelssohn. Miss Dolby was as ever most effective in Mozart's "Al desio:" a finer specimen of impassioned singing could hardly be heard. Mr. Sloper displayed his fine talent in Stephen Heller's brilliant and highly interesting solo, "Caprice brilliant," Op. 27, and not less in Mendelssohn's magnificent trio in C minor, No. 2, in which he was admirably supported by Mr. Willy and M. Rousselot. The latter played also a violoncello "Adagio" with great feeling and delicacy, and was loudly applauded. Two of Mendelssohn's delicious two-part songs - "Gruss," and "Herbstlied" (Nos. 3 and 4 from Op. 63.) were sung with great effect by Miss Dolby and Herr Brandt. There were other things worthy of notice in this concert, but space calls upon us to refrain from further detail. (The Musical World, Saturday, 15 April 1848)

Monday, 15 May 1848 : Philharmonic Society's Fifth Concert at Hanover-Square Rooms.

PHILHARMONIC CONCERTS. The fifth concert took place last night at the Hanover-square Rooms, when the following pieces were performed : - Part I. Sinfonia in B flat, No. 4 - Haydn. Duo, " Un tenero," Madame Castellan and Signor Mario - Donizetti. Concerto in D minor, Pianoforte, Mr. W. S. Bennett - Mozart. Scena, "Ah! perfido," Madame Castellan - Beethoven. Overture, " Titania" (MS.) J. H. Griesbach. Part II. Sinfonia in F, No. 8 - Beethoven. Romanza, "In terra ci divisero," Sig. Mario. - Mercadante. Aria, " Come scoglio," Madame Castellan - Mozart. Overture, Zauberflote - Mozart. The only feature of novelty which the programme contained was the overture by Mr. Griesbach - a work in which there was the demonstration of scholarship rather than of genius. Evidences of cleverness were abundant throughout, and the effects, Mendelssohnian in sentiment, were frequently piquant and vigorous, but there was not much originality to boast of. Played, however, with great spirit, it made a favourable impression ; and as the production of an English musician - one of more than ordinary talent - it was welcomed with gratifying and encouraging warmth. The two symphonies were performed with the care that usually distinguishes the governance of M. Costa; and the Mozart-like imageries of Haydn, profusely abundant in the symphony in B flat, no less than the graceful ideas of Beethoven, which came after, were developed with equal precision and intelligence. The allegretto in the latter was encored. The senseless and unmeaning display of M. Prudent at the last concert was probably the cause of Mr. Sterndale Bennett's occupancy of the pianoforte seat on the present occasion-we trust the prelude to other native expositions of the same character. Mr. W. H. Holmes, Mr. Jewson, Mr. Brinley Richards, or Mr. Lindsay Sloper, with quite as much executive accomplishment as lies within mortal reach, are artists in the best sense of the word, and for them to be excluded from the Philharmonic orchestra to make room for foreign charlatans, like the foppish pantomimist we have mentioned, is rather too bad. Let us hope, however, that the recent experience will continue to produce the results it did last night, and the apparition of M. Prudent, and the infliction of his "concerto in B flat," will not have been without its benefit. Mr. Bennett, in playing Mozart's concerto, vindicated the interests of sterling, rational taste, and awakened a sensation very different from that of the previous concert. While the music was exquisitely melodious and beautiful, the execution was clear, graceful, and elegant - execution, in short, which realised the best ideal of the art, and, alike free from affectation or extravagance, was the purest exposition of Mozart the ear could desire. The vocal pieces were of more musical interest than usual. Castellan not only deserves credit for choosing the lovely "Ah perfido " of Beethoven, but also for the attractive way in which she sang it. Upon the same double grounds may we also commend her performance of the aria by Mozart. Mercadante's romanza fared triumphantly in the hands of Mario, and was encored; and the duet by Donizetti, between the same vocalist and Castellan, was an opera reminiscence which found admirers. (The Standard, Tuesday, 16 May 1848)

Tuesday, 16 May 1848 : The Misses Pyne And Mr. Calkin's Concert at Hanover-Square Rooms.

THE Misses PYNE and Mr. CALKIN have the honour to announce that their CONCERT will take place at the HANOVER-SQUARE ROOMS, on TUESDAY EVENING, May 16, 1848. Vocalists - Madame Anna Thillon, Misses Bassano, Pyne, Louisa Pyne, and Dolby; Messrs. Sims Reeves, Seguin, Burdini, Julien Kench, Calkin, and John Parry. Instrumentalists - Miss Calkin, Messrs. Jewson, Lindsay Sloper, Richardson, and Gratton Cooke. Conductors - Messrs. Lindsay Sloper, Brinley Richards, and Jewson. - To commence at Eight o'clock precisely. - Tickets to be had at the principal Music-sellers. (John Bull, Saturday, 29 April 1848)

THE Misses PYNE and Mr. CALKIN have the honour to announce that their CONCERT will take place at the Hanover-square Rooms, on TUESDAY EVENING, May 16, 1848, Vocalists- Madame Anna Thillon, Misses Bassano, Pyne, Louisa Pyne, and Dolby ; Messrs. Sims Reeves, Seguin, Bardini, Jullien Kench, Calkin, and John Parry. Instrumentalists-Miss Calkin, Messrs Jewson, Lindsay Sloper, Richardson, and Gratton Cooke. Conductors- Messrs. Lindsay Sloper, Brinley Richards, and Jewson. To commence at Eight o'clock precisely. Tickets to be had at the principal Musicsellers. (Morning Post, Tuesday, 9 May 1848) (Also: Morning Post, Friday, 12 May 1848; Morning Post, Tuesday, 16 May 1848; Morning Chronicle (1801), Monday, 15 May 1848; Morning Post, Thursday, 11 May 1848; The Times, Tuesday, 16 May 1848.)

Hanover-square Rooms.- The Misses Pyne and Mr. Calkin gave a concert at these rooms on Tuesday evening-gathering together no small audience. The young ladies, who may now be ranked among the most promising of our English artists, gave various examples of their abilities in operatic scenes and ballads, displaying much creditable accomplishment in the one, and simple unaffected, taste in the other. Among the greater vocal guns were Mr Sims Reeves, who was enthusiastically encored in his plaintive air from the Lucia: and Madame Anna Thillon, Miss Bassano, Miss Dolby, Mr. Bodda, Mr. Julian Kench, Mr. W. H. Seguin, and Mr. John Parry, were also among the singers. There was an adequate supply of instrumentalists. Mr. Jewson and Mr. Calkin played a MS. pianoforte duet by Mr. Wallace with admirable effect, and Mr. Richardson and Mr. Grattan Cooke contributed fantasias on the flute and oboe. Mr. Lindsay Sloper, who conducted the concert conjointly with Mr. Brindley Richards, played a selection, from the "Lieder ohne Wrote" of Mendelssohn. (The Standard, Thursday, 18 May 1848)

CONCERTS OF THE WEEK. The musical circles are in full activity, and the concerts of the season are beginning to crowd fast upon each other in every direction and at all hours. Among those of the present week we may mention, with distinction, the concert of the Misses Pyne and Mr. Calkin, on Tuesday evening, at the Queen's Concert-room, Hanover-square,. at which a brilliant and crowded audience was assembled to witness the performance of a most attractive programme. The vocal portion was sustained by Mesdames Thillon, Dolby, Bassano, Pynes (2); Messrs. Calkin, Bodda, Burdini, and Sims Reeves, the reigning English tenore. The instrumental parts were supported by Miss Calkin, and Messrs. Jewson, Richards, and Lindsay Sloper (pianists); and by Mr. Richardson (flute.) Miss Calkin and Mr. Jewson played a duet by Wallace, the final movement of which, a passage of great brilliancy, received the most ample justice at their hands. The Misses Pyne sang together some charming duets with their accustomed purity and sweetness of voice. Miss Louisa Pyne gave Rode's air, with its vocal variations, with grace and accuracy, and shared successfully the difficulties of the duetto, "A consolarmi," from the lamented Donizetti's "Linda," with Mr. S. Reeves. (The Lady's Newspaper & Pictorial Times, Saturday, 20 May 1848)

Miss Dolby and Mr. Lindsay Sloper's Morning Concert. -An excellent programme was provided on Tuesday morning, at the Hanover-square Rooms, which were crowded to excess by the friends and admirers of this popular and esteemed vocalist and very clever pianist. The first part was confined solely to the works of the late Mendelssohn, opening with his "St. Paul" overture, and followed by Anthem, "Why, Lord," composed to Dr. Broadley's version of the 13th Psalm. It fine work, and was well executed. Miss Dolby singing the principal solo-, the chorus being chiefly composed of the pupils of the Royal Academy of Music. The Serenade and " Allegro giojoso," Op. 44, executed by Mr. Lindsay Sloper in brilliant style; two duets nicely sung by the Misses Pyne; the song, "By Celia's arbour," given by Mr. Lockey, the " Oh rest in the Lord," from the "Elijah," sung by Miss Dolby; and two unaccompanied Quartets, sung by Miss Wallace, Miss Dolby, Mr. Lockey, and Mr. Seguin, completed the Mendelssohnian gleanings-a graceful tribute to the memory of that celebrated composer. Bach's Concerto in D minor, for three pianofortes and orchestra, was capitally played by C. Hallé, Benedict, and Lindsay Sloper. The second part of the scheme was miscellaneous: Blagrove playing violin solo; the Distin family, quartet on the Sax-homs; Mr. Sloper, his own " Napolitaine;" and Madame Thillon and Signor Marras being added to the list of singers we have named above. There was an effective band, led by Mr. Willy, Mr. C. Lucas and Benedict officiating as conductors. (Illustrated London News, Saturday, 3 June 1848)

THE MISSES PYNE AND MR. CALKIN's concert came off on Tuesday evening, May the 16th, at the Hanover Rooms. The bills displayed the attractive names of Sims Reeves, Anna Thillon, and Miss Dolby, together with those of Miss Bassano, Mr. Bodda, Mr. W. H. Seguin, Mr. Burdini, and Mr. Julian Kench, and the John Parry, in addition to those of the beneficiaires, two of our most charming and talented concert singers. The instrumental performers were Mr. Lindsay Sloper, Mr. J. B. Jewson, and Miss Calkin (piano), Mr. Richardson (flute), and Mr. Gratton Cooke (oboe). Mr. Sims Reeves gave the "Fra poco," from Lucia with immense effect, and was encored. Mr. Reeves also sang a song written expressly for him by Mr. Calkin, called "Soft zephyr," and assisted Miss Pyne in the duetto "Da quel di," from Linda di Chamouni. Miss Louisa Pyne gave Rode's celebrated aria and variations, and manifested extraordinary fluency and brilliancy of execution. In a duet from Bianca e Faliero, the Misses Pyne produced an ensemble that was absolutely faultless. Mr. Lindsay Sloper played selections from Mendelssohn's Lieder ohne Worte in his own admirable manner. Mr. Calkin was heard to advantage in a song of Mercadante's, and in one of his own composing. The other performances we have not room to specify. Mr. Lindsay Sloper, Mr. Brinley Richards, and Mr. F. B. Jewson acted as conductors. (The Musical world, Saturday, 3 June 1848)

Friday, 19 May 1848 : Mr. Blewitt's Benefit Concert (Evening) at Music Hall, Grand Concert Room, Store Street, Bedford Square.

UNDER THE MOST DISTINGUISHED PATRONAGE. MUSIC HALL, GRAND CONCERT ROOM, STORE STREET, BEDFORD SQUARE. MR. BLEWITT Begs most respectfully to announce to the Nobility and Gentry, that his BENEFIT CONCERT Will take place at the above Room, on FRIDAY EVENING, May 19th, 1848, On which occasion he will be honored by the kind and valuable assistance of the following eminent Vocal and Instrumental Artistes:-Vocalists. Madame Anna Thillon, Miss Miran, Miss Ransford, and Miss Steele, Mrs. Georgina Plummer, Mrs. Weiss, Miss Poole, and Miss Dolby, Mr. Harrison, Signor Marras, and Mr. Benson, Mr. Henry Phillips, and Mr. Henry Russell, Mr. Machin, Mr. Julian Kench, and Mr. Weiss, Mr. Templeton, (who will sing "SALLY IN OUR ALLEY," and "OLD TOWLER," which was so enthusiastically received in America, and during his late tour through England, Ireland, and Scotland,) and Mr. Sims Reeves, who will sing Beethoven's celebrated composition "Adelaide," accompanied by M. Benedict, and other songs). Conductors, - M. BENEDICT and Mr. VINCENT WALLACE. SOLO PERFORMERS: - Grand pianoforte, Mr. Lindsay Sloper; Harp, Mr. Balsir Chatterton; Oboe, Gratten Cooke: Flute, Mr. Richardson; with other splendid Talent daily expected from the Continent. Doors open at Seven; to commence at EIGHT o'clock. Single Tickets, 5s., Reserved Seats, 7s., Family ditto (to admit Five) £1 1s. To be had at the Music Hall, Store Street; the principal Music Shops; and 37, Great Marlborough Street, where Private Boxes may be secured. (The Musical world, Saturday, 6 May 1848)

Monday, 22 May 1848 : The Choral Fund's Concert at Hanover-Square Rooms.

HANOVER-SQUARE ROOMS. The Choral Fund concert took place last night, when an admirable selection of music was performed. The concert opened with Beethoven's overture to Egmont, by the orchestra, the performance of which we cannot praise. The duet "Ciel, qual destin," from Bianca e Faliero, was very well sung by the Misses Pyne. Haydn's song from The Seasons, "The Husbandman," was judiciously given by Mr. H. Phillips ; it was from this air that Rossini took the first phrase of his trio "Zette Zette." A duet for two pianos, by Moscheles, "Hommage a Handel," was delightfully played by Benedict and Lindsay Sloper- all the Handelians were in ecstacies. Madame d'Okolski was very successful in Coppola's aira "Ah no la rosa." One of the great treats of the evening was Alboni's exquisite singing of Beethoven's aira " In questa tomba ;" an encore was demanded, when she gave the popular song from Lucrezia, " II segreto per esser felice." The pretty duet "Da quel di," from Linda, by Mr. Reeves and Miss Louisa Pyne, was exquisitely sung, and much applauded. Miss Miran gave Mendelsohn's air from St. Paul, "But the Lord," &c, with charming effect. Mr. Phillips was eminently successful in singing Handel's "Haste thee, nymph," which was warmly applauded and encored. The second part of the concert opened with a solo on the oboe by Mr. G. Cooke, introducing au air by Pergolesi, à la Sicilienne, which he played deliciously. The rendering of "Auld Robin Gray" by Miss Bassano was perfection. Mr. Reeves sang Balfe's " In this old chair," which, of course, was encored. One of the gems of the concert was Miss L. Pyne's admirable execution of Rode's air. Tamburini sung " Non piu Andrai'' with great spirit, introducing several fioriture which if indulged in by an Englishman, would have been assuredly visited with un audible expression of reprehension. It was however, encored. Miss Miran sang "Voi che sapete" with charming effect. The concert was well attended. We cannot say much for the accompaniments. (Morning Post, Tuesday, 23 May 1848)

The Choral Fund. -An annual concert is given in aid of this fund for distressed choristers, on which occasion native and foreign artistes afford their gratuitous aid. Signor Tamburini, Mdme. d'Okulske, and Mdlle. Alboni were in the latter category ; whilst in the former there were Misses Rainforth, Dolby, Miran, the two Misses Pyne, Bassano, Mr. Sims Reeves, Messrs. Phillips, Weiss, Machin, King, &c. The orchestra was conducted by Sir H. R. Bishop, and Mr. G. F. Harris presided at the organ. Grattan Cooke played an oboe solo, and Messrs. Benedict and Lindsay Sloper a pianoforte duet. The scheme was attractive; and the concert, which took place on Monday night, at the Hanover Rooms, was very well attended. Reeves was encored in Balfe's n this old chair. Alboni, called upon to repeat Beethoven's questa tomba," gave the drinking song from "Lucrezia;" Phillips was encored in Handel's laughing solo and chorus, Haste thee, nymph and Tamburini was similarly greeted in Non piu andrai;" Miss Bassano sang "Auld Robin Gray" with much pathos; Miss Miran gave two airs Mozart and Mendelssohn very sweetly; Miss Dolby warbled one of Linley's ballads mellifluously; and the Misses Pyne participated in the glory of the vocal gleanings. (Illustrated London News, Saturday, 27 May 1848)

Tuesday, 30 May 1848 : Miss Dolby and Mr. Lindsay Sloper's Annual Grand Morning Concert at Hanover-Square Rooms.

MISS DOLBY and Mr LINDSAY SLOPER have the honor to announce that their ANNUAL GRAND MORNING CONCERT, under the immediate patronage of her most Gracious Majesty the Queen and H. H. H. Prince Albert will take place at the HANOVER SQUARE ROOMS on the 30th inst.; to commence at Two o'clock precisely. Miss Dolby and Mr Lindsay Sloper will be assisted by eminent talent, Vocal and Instrumental, a complete Band and an efficient Chorus. An ANTHEM by Dr. MENDELSSOHN, will be performed on this occasion FOR THE FIRST TIME. Tickets, 7s. each, may be had of all the principal Music-sellers; of Miss Dolby, 2 Hinde-street, Manchester-square ; and of Mr. L. Sloper. 7 Southwick-place, Hyde park-square. Reserved Seats, Half-a-Guinea each, to be had only of Messrs Cramer and Co ; of Miss Dolby; and Mr. Lindsay Sloper. (Morning Chronicle (1801), Saturday, 20 May 1848) (Also: The Times, Monday, 22 May 1848; Daily News, Thursday, 25 May 1848; The Times, Friday, 26 May 1848; Examiner, Saturday, 27 May 1848; Examiner, Saturday, 27 May 1848; Morning Post, Monday, 29 May 1848; Morning Chronicle (1801), Monday, 29 May 1848.)

MISS DOLBY and MR. LINDSAY SLOPER, have the honour to announce that their ANNUAL GRAND MORNING CONCERT, under the immediate Patronage of the Her Most Gracious Majesty the Queen and, H.R.H. Prince Albert; will take place at the HANOVER SQUARE ROOMS on the 30th inst., at Two o'clock precisely. Miss Dolby and Mr. Lindsay Sloper will be assisted by eminent talent. Vocal and Instrumental; a complete Band and an efficient Chorus. "AN ANTHEM, by Dr. Mendelssohn, will be performed on this occasion for the First Time. Tickets, 7s, each, may be had of all the principal Music-sellers; of Miss Dolby, 2, Hinde-street, Manchester-square; and of Mr. Lindsay Sloper, 7, Southwick-place, Hyde Park-square. Reserved Seats, 10s. 6d., each, to be had only of Messrs. Cramer & Co.; Miss Dolby, and Mr. Lindsay Sloper. (The Athenaeum, Saturday, 20 May 1848)

Miss DOLBY and Mr. LINDSAY SLOPER Beg to announce that their ANNUAL GRAND MORNING CONCERT, Under the immediate patronage of Her Most Gracious Majesty the QUEEN, Will take place at the HANOVER SQUARE ROOMS. on TUESDAY, the 30th, instant, To commence at Two o'Clock precisely. Miss Dolby, and Mr. Lindsay Sloper will be assisted by eminent talent, Vocal and Instrumental, a complete Orchestra, and an efficient chorus. An Anthem for Contralto and Chorus, by Mendelssohn will be performed on this occasion for the first time. Tickets 7s. each, may be had of all the principal Music-sellers, of Miss Dolby, 2, Hinde-street, Manchester-square; and of Mr. Lindsay Sloper, 7, Southwick-street, Hyde Park Square. Reserved Seats, Half-a-Guinea, each, to be had only of Messrs. Cramer and Co, of Miss Dolby, and Mr. Lindsay Sloper. (The Musical world, Saturday, 20 May 1848)

MISS DOLBY and Mr. LINDSAY SLOPER have the honour to announce that their ANNUAL GRAND MORNING CONCERT, under the immediate patronage of Her Most Gracious, Majesty the Queen and H.R.H. Prince Albert, will take place at the HANOVER-SQUARE ROOMS, on the 30th inst., to commence at two o'clock precisely. Miss Dolby and Mr. Lindsay Sloper will be assisted by eminent talent, Vocal and Instrumental; a complete Orchestra; and an efficient Chorus. An ANTHEM for Contralto and Chorus, by Mendelssohn, will be performed on this this occasion for the first time. - Tickets, 7s. each, may be had of all the principal Music-sellers; of Miss Dolby, 2, Hinde-street, Manchester-square ; and of Mr. Sloper, 7 Southwick-place, Hyde Park-square. - Reserve Seats, Half-a-Guinea each to be had only of Miss Dolby, Mr. Lindsay Sloper, and Messrs. Cramer and Co., Regent-street. (John Bull, Saturday, 27 May 1848) (Also: John Bull, Saturday, 27 May 1848; John Bull, Saturday, 27 May 1848.)

MISS DOLBY and Mr LINDSAY SLOPER beg to announce that their ANNUAL GRAND MORNING CONCERT, under the immediate patronage of her most Gracious Majesty the Queen and H. H. H. Prince Albert will take place at the HANOVER SQUARE ROOMS on the 30th inst., to commence at 2 o'clock precisely. Miss Dolby and Mr Lindsay Sloper will be assisted by eminent talent, Vocal and Instrumental, a complete orchestra and an efficient Chorus. An ANTHEM for contralto and chorus by MENDELSSOHN, will be performed on this occasion FOR THE FIRST TIME. Tickets, 7s. each, may be had of all the principal Music-sellers; of Miss Dolby, 2 Hinde-street, Manchester-square ; and of Mr. L. Sloper. 7 Southwick-place, Hyde park-square. Reserved Seats, 10s 6d, to be had only of Miss Dolby; and Mr. Lindsay Sloper. (Bell's Weekly Messenger, Saturday, 27 May 1848)

MISS DOLBY and MR. LINDSAY SLOPER beg to announce that their ANNUAL GRAND MORNING CONCERT, under the immediate Patronage of Her Most Gracious Majesty the Queen and H.R.H. Prince. Albert, will take place at the HANOVER-SQUARE ROOMS on the 30th inst. To Commence at Two o'clock precisely. Vocalists - Madame Anna Thillon, Misses Wallace, Pyne and L. Pyne, and Dolby; Signor Marras, Messrs. Lockey, Genge, Seguin, Calkin, and Kench, assisted by the Students of the Royal Academy of Music. Instrumental performers - The Messrs. Distin, Messrs. C. Hallé. Benedict, and Lindsay Sloper. The Orchestra will be complete in every department. Leader, Mr. Willy. Conductors, Messrs. Benedict and Lucas. On this occasion will be performed (for the First. Time) AN ANTHEM, by Dr. Mendelssohn. with other works little known in this country. Tickets. 7s. each, may be had of all the principal Music-sellers; of Miss Dolby, 2, Hinde-street, Manchester-square; and of Mr. Lindsay Sloper, 7. Southwick-place, Hyde Park-square. Reserved Seats, 10s. 6d. each, to be had only of Messrs. Cramer & Co.; of Miss Dolby, and Mr. Lindsay Sloper. (The Athenaeum, Saturday, 27 May 1848) (Also: The Musical world, Saturday, 27 May 1848.)

THIS MORNING.- MISS DOLBY and Mr LINDSAY SLOPER have the honor to announce that their ANNUAL GRAND MORNING CONCERT, under the immediate patronage of her most Gracious Majesty the Queen and H. H. H. Prince Albert will take place at the HANOVER SQUARE ROOMS. Miss Dolby and Mr Lindsay Sloper will be assisted by eminent talent, Vocal and Instrumental, a complete Band and an efficient Chorus. An ANTHEM by Dr. MENDELSSOHN, will be performed on this occasion FOR THE FIRST TIME. Tickets, 7s. each, may be had of all the principal Music-sellers; of Miss Dolby, 2 Hinde-street, Manchester-square ; and of Mr. L. Sloper. 7 Southwick-place, Hyde park-square. Reserved Seats, Half-a-Guinea each, to be had only of Messrs Cramer and Co ; of Miss Dolby; and Mr. Lindsay Sloper. (Morning Post, Tuesday, 30 May 1848) (Also: Morning Post, Tuesday, 30 May 1848.)

THIS MORNING.- MISS DOLBY and Mr LINDSAY SLOPER beg to announce that their ANNUAL GRAND MORNING CONCERT, under the immediate patronage of her most Gracious Majesty the Queen and H. H. H. Prince Albert will take place at the HANOVER SQUARE ROOMS to commence at 2 o'clock precisely. Miss Dolby and Mr Lindsay Sloper will be assisted by eminent talent, Vocal and Instrumental, a complete orchestra and an efficient Chorus. An ANTHEM for contralto and chorus by MENDELSSOHN, will be performed on this occasion FOR THE FIRST TIME. Tickets, 7s. each, may be had of all the principal Music-sellers; of Miss Dolby, 2 Hinde-street, Manchester-square ; and of Mr. L. Sloper. 7 Southwick-place, Hyde park-square. Reserved Seats, 10s 6d, to be had only of Miss Dolby; and Mr. Lindsay Sloper. (The Times, Tuesday, 30 May 1848)

MISS DOLBY'S AND MR. LINDSAY SLOPER'S GRAND MORNING CONCERT. The selection of the programme was in every respect worthy the patronage of her Majesty and Prince Albert, under whose auspices the concert was given. Miss Dolby's great excellence as an exponent of the best class of vocal music and Mr. Lindsay Sloper's classical attainments and mastery of the pianoforte are so widely extended and so universally conceded, that our need of praise is unnecessary. The whole of the first act was devoted to an admirable selection from the works of Doctor Mendelssohn, and was especially interesting from the circumstance that many of the pieces had not previously been performed in public, the anthem, " Why, O Lord," composed to Dr. Breadley 's version of the Thirteenth Psalm, is one of the most beautiful compositions that has emanated even from the rich mind of Mendelssohn. The contralto solo, sung by Miss Dolby in her best manner, is instinct with the loveliest melody and devotional feeling. The chorus was capitally executed by students of the Royal Academy. The orchestra, too, which was numerous and admirably balanced, performed with delicacy and ensemble. Dr. Broadley purchased this charming anthem from Mendelssohn and most kindly placed it at the service of the concert-givers. The serenade and allegro giojoso (op 44), pianoforte, with orchestral accompaniments, was finely interpreted by Mr. Lindsay Sloper, who has gained force, without sacrificing delicacy of touch or graceful phrasing The serenade is one of Mendelssohn's loveliest inspirations ; the allegro is exceedingly brilliant, but in parts reminds us of Weber's Concert Stuck. "Home far away" and "Evening song," a pair of two-part songs, were rendered by the Misses Pyne with a perfect appreciation of the melody and the poetry. The first is quite Shakesperian in spirit, and the second full of charming thoughts. "By Celia's arbour" was nicely given by Mr. Lockey, and Miss Dolby sung "O rest in the Lord" (from Elijah) with a gentle piety that went at once to the heart. Two quartetts, unaccompanied, "In the woods," and "On the sea," were sang, for the first time, by Miss Wallace, Miss Dolby, Mr Lockey, and Mr. Seguin. The motives are delightful, and admirably voiced. The cheval de bataille, however, was Bach's concerto for three pianofortes, with orchestral accompaniment-, performed by Charles Hallé, Benedict, and Lindsay Sloper. The concerto is full of freshness and vigour, and the fugueal parts were delivered with precision and firmness. We much doubt whether this glorious work has been ever so ably or conscientiously rendered. The second act was miscellaneous, and consisted of popular songs, &c. The only novelties were a very graceful ballad, by Mr. G. Linley, "Spring is returning," sung delightfully by Miss Dolby, and a "Napolitaine" (MS.) for the piano-forte, by Lindsay Sloper. It is a true tarantella, joyous, bounding, brilliant, and varied, and, we need scarcely add, was admirably played by the composer. Miss Wallace contributed "Qui la voce," which she gave with force and just intonation. Mr. Blagrove performed a fantasia from the Pirata, with his accustomed finish and Madame Anna Thillon sang Auber's cavatina, "Une rose bien fleurie," very sweetly. The room was full and fashionable attended. (Morning Post, Thursday, 1 June 1848)

Miss Dolby And Mr. Lindsay Sloper.- The concert of these popular artists took place on Tuesday morning, in the Hanover-square Rooms, which were filled to an overflow, the lobbies and antechambers being crowded with persons unable to obtain seats. The programme was well deserving of such a distinction, and might serve as a model for benefit concerts. The first part was entirely devoted to the compositions of Mendelssohn, a mark of respect to the memory of that great musician which came gracefully from Miss Dolby, on whom Mendelssohn conferred the distinguished honour of a dedication of one of his most beautiful books of songs (Op. 56), and from Mr. Sloper, who is acknowledged one of the ablest interpreters of his works for the piano. The concert opened with the overture to St. Paul which was effectively played by a numerous and efficient band, led by Mr. Willy. and conducted by Mr. Lucas. An anthem, "Why, O Lord," composed to Dr. Broadley's version of the 13th Psalm followed. This remarkable composition only exists in MS., and belongs exclusively to the author of the version, to whom Mendelssohn presented it as a friendly offering. One hearing of course does not enable us to give a decided opinion of its merits; but it was enough to show that the anthem was quite worthy of the author of Elijah. It contains four movements - a mezzo soprano solo in E flat, "Why, O Lord," a movement of singular originality and beauty; a fine chorale in B flat "On thy love," with solo and semichorus, a solo and chorus, "Lord, my heart's devotion," and a final fugue for full chorus, in the original key, to the words, "Let us sing," the theme of which is bold and rhythmical, the treatment in the highest degree masterly. The execution of this MS. composition was of that complete and satisfactory kind which showed a proper sense of respect for the man who wrote it. Miss Dolby sang the solos in her very best style, and the chorus numbered Miss Wallace and the Misses Pyne, Messrs. Lockey, Genge, Calkin, and Seguin. with nearly 30 of the young ladies of the Royal Academy of Music; so that full justice was rendered to the music, and Mendelssohn himself, had he been present, could have found little or nothing to improve. After the anthem Mr. Lindsay Sloper played the serenade and Allegro Giojoso in B minor, Op. 44, for pianoforte and orchestra. The agreeable form of this work, which does not assume the length and elaboration of a grand concerto. and the happy contrast offered by the exquisite sentiment of the serenade and the irresistible animation of the Allegro, peculiarly adapt it for public performance. Mr. Sloper played it with masterly ease; the feeling he infused into the cantabile passages, and the force and brilliancy with which he "carried off" the bravura passages and other tours de force, were equally admirable; we have rarely heard anything more sparkling and finished than the manner in which the arpeggios and grupetti which accompany the charming counter theme of the Allegro were rendered; it was instinct with grace and delicacy. Some miscellaneous vocal pieces completed the "Mendelssohn" part of the programme - these consisted of two simple duets -"Home far away" and "Evening Song," in the first of which Mendelssohn has thrown all his tenderness, and in the last a world of glowing fervour; an elegant song - ''By Celia's arbour," and a couple of quartets for voices unaccompanied (from the "Table songs') - "In the woods," and "On the sea;" the duets (performed for the first time) were beautifully sung by the Misses Pyne (pupils of Sir George Smart), who are rapidly growing in public estimation; the song was interpreted with unaffected expression by Mr. Lockey; and the quartets fared excellently in the hands of Misses Wallace and Dolby, and Messrs. Lockey and Seguin. As a climax to this fine selection, Sebastian Bach's magnificent concerto for three pianofortes, was executed in splendid style by Messrs. Charles Hallé, Benedict, and Lindsay Sloper. We should mention, as one of the most interesting features of the first part, the lovely contralto song from Elijah, "O rest in the Lord," which Miss Dolby sang with that quiet repose and classical simplicity so entirely in keeping with its character, and which have made it quite her own. The second part was miscellaneous. Miss Dolby displayed her familiarity with the Italian bravura style in Ricci's difficult aria, "Io chiedo," and gave an excellent specimen of English ballad singing in a pleasing song of Linley, "Spring is returning." Mr. Lindsay Sloper played a graceful and musicianlike composition of his own, called "Napolitaine," and Miss Wallace, Madame Anna Thillon, Signor Marras, and the Misses Pyne, in several vocal morceaux; the Messrs. Distin, in a sax-horn arrangement of Rossini's "Cujus Animam" (accompanied by Mr. Willy. jun, on the piano); and Mr. Blagrove in a violin solo, diversified the performance, which concluded with a spirited version of Weber's Jubilee overture, by the band, at a reasonable hour, Mr. Benedict conducted with his usual talent. (The Times, Thursday, 1 June 1848)

Miss Dolby's and Mr. Lindsay Sloper's Grand Morning Concert.- The selection of the programme was in every respect worthy the patronage of her Majesty and Prince Albert, under whose auspices the concert was riven on Tuesday at the Hanover-square Rooms. Miss Dolby's great excellence as an exponent of the best class of vocal music and Mr. Lindsay Sloper's classical attainments and mastery of the pianoforte are so widely extended and so universally conceded, that our meed praise is unnecessary. The whole of the first act was devoted an admirable selection from the works of Doctor Mendelssohn, and and were especially interesting from the circumstance that many of the pieces had not previously been performed in public. The anthem, "Why, Lord," composed to Mr. Broadley's version of the Thirteenth Psalm, is one of the most beautiful compositions that has emanated even from the rich mind of Mendelssohn. The contralto solo, sung by Miss Dolby in her best manner, is instinct with the loveliest melody and devotional feeling. The chorus was capitally executed by the students of the Royal Academy. The orchestra, too, which was numerous and admirably balanced, performed with delicacy and ensemble. Dr. Broadley purchased this charming anthem from Mendelssohn, and most kindly placed it at the service of the concert-givers. The serenade and allegro giojoso (op. pianoforte, with orchestral accompaniments), was finely interpreted by Mr. Lindsay Sloper, who has gained force without sacrificing delicacy of touch or graceful phrasing. The serenade is one of Mendelssohn's loveliest inspirations; the allegro is exceedingly brilliant, but in parts reminds of Weber's Concert Stuck. "Home far away" and "Evening Song," a pair of two part songs, were rendered by the Misses Pyne with perfect appreciation of the melody and the poetry. The first is quite Shaksperian in spirit, and the second full charming thoughts. "Celia's arbour" was nicely given by Mr. Lockey and Miss Dolby sang "O rest in the Land" (from Elijah), with gentle piety that went at once to the heart. Two quartetts, unaccompanied, "In the woods," and "On the sea," were sung, for the first time, Miss Wallace, Miss Dolby, Mr. Lockey, and Mr. [?] The motives ant delightful, and admirably voiced. The cheval de bataille, however, was Bach's concerto for three pianofortes, with orchestral accompaniments, performed Charles Hallé, Benedict, and Lindsay Sloper. The concerto was full freshness and vigour, and the fogusal parts were delivered with precision and firmness. We much doubt whether this glorious work has been ever so ably or conscientiously rendered. The [?] was miscellaneous, and consisted of popular songs, &c. The only novelties a wore very graceful a-i Ct by Mr. G. Linley, " Spring is returning," sung Rightfully by Miss Dolby, "Napolitaine" (MS.) for the pianoforte,, by Lindsay Sloper. It is true joyous, bounding, brilliant, and varied, and, we need scarcely add, was admirably played by the composer. Miss Wallace contributed "Qui la voce," which he gave with force and just intonation. Mr. Blagrove performed fantasia from the " Pirata," with his accustomed finish, and Madame Anna Thillon sang Auber'e cavatina, "Une rose bion fleurie," very sweetly. The room was full and fashionably attended. (Globe, Thursday, 1 June 1848)

Miss Dolby's Concert was remarkable for the production of several pieces by Mendelssohn, some of them old favourites. The overture to "St Paul," and the Serenade and Allegro Giojoso (Op. 44) for piano, with orchestra, played by Mr. Lindsay Sloper; but others quite new, including a new anthem, "Why, O Lord," composed to Dr. Broadley's version of the thirteenth psalm. It is to be hoped that this latter composition may soon be in print. (Musical Times, Thursday, 1 June 1848)

The concert of Miss Dolby and Mr Lindsay Sloper at HANOVER SQUARE Rooms on Tuesday morning (overcrowded with an eager audience) was chiefly remarkable for the admirable execution of an original Anthem of Mendelssohn's, presented in manuscript to Miss Dolby by the great composer. But besides this, several classical pieces, vocal and instrumental, were performed; and the entertainment altogether was of the highest character. (Examiner, Saturday, 3 June 1848)

Among the benefit concerts of the week, the most remarkable has been that of Miss Dolby and Mr. Lindsay Sloper, on Wednesday morning. It was distinguished by the high and classical character of the selection. The first part consisted entirely of pieces taken from the principal works of Mendelssohn; and included his fine anthem from the 19th Psalm, a composition which shows his knowledge and love of the English Cathedral music. The solo part (for a contralto voice) was beautifully given by Miss Dolby; and the choruses were well sung by the pupils of the Royal Academy. Mendelssohn's beautiful "Serenade" was admirably executed on the pianoforte by Mr. Sloper. The miscellaneous part, too, afforded both the beneficiaires several opportunities of displaying their well-known talents. Like their previous concerts, it was fully and fashionably attended. (John Bull, Saturday, 3 June 1848) (Also: John Bull, Monday, 5 June 1848.)

Among the benefit concerts of the week, the most remarkable has been that 'of Miss Dolby and Mr. Lindsay Sloper, on Wednesday morning. It was distinguished by the high and classical character of the selection. The first part consisted entirely of pieces taken from the principal works of Mendelssohn; and included his fine anthem from the 19th Psalm, a composition which shows his knowledge and love of the English Cathedral music. The solo part (for a contralto voice) was beautifully given by Miss Dolby; and the choruses were well sung by the pupils of the Royal Academy. Mendelssohn's beautiful "Serenade" was admirably executed on the pianoforte by Mr. Sloper. The miscellaneous part, too, afforded both the beneficiaires several opportunities of displaying their well-known talents. Like their previous concerts, it was fully and fashionably attended. (John Bull, Saturday, 3 June 1848)

CONCERTS OF THE WEEK. Miss Dolby and Mr. Lindsey Sloper, who had their benefit concert conjointly, drew a large assemblage of fashionable company to the Hanover-square Rooms on Tuesday morning. Great credit is due to the beneficiares for the taste and judgment evinced in the selection of the music on this occasion - a selection which proved they were less anxious to make a showy display of their own talents than to afford their audience the pleasure of hearing really good music. The first part, which consisted almost entirely of compositions by Mendelssohn, opened with the overture to "Saint Paul," performed with admirable precision and effect by a full orchestra. Next came an anthem, set by Mendelssohn to Dr. Broadley's version of the 13th Psalm. The solo parts were beautifully performed by Miss Dolby, Miss Wallace, the Misses Pyne, and Messrs. Lockey and Seguin, and the chorus by the pupils of the Academy of Music. Miss Dolby's fine contralto voice and pure style of singing were also most effectually brought out in some of Mendelssohn's lyric compositions, which were the more welcome, inasmuch as they are seldom heard. Mr. Lindsey Sloper, whose talents as a pianist are well known and justly admired, elicited high and well-deserved applause by his performance of Mendelssohn's "Serenade" and " Allegro Giojoso," which were given with full orchestral accompaniments. In the opening movement his delicacy and clearness of touch afforded a charming interpretation of the composer's ideas. In the second part of the concert Mr. Sloper displayed, in a "Napolitaine" of his own arrangement, all the nimbleness of fingering which characterizes the modern pianoforte school. Blagrove played in his very best style his favourite violin solo from "Il Pirata;" and the "Cujus animam" from Rossini's "Stabat Mater" was charmingly given by six horns, performed by the Distins and Mr. Willy, jun. (The Lady's Newspaper & Pictorial Times, Saturday, 3 June 1848)

Miss Dolby and Mr. Lindsay Sloper's Morning Concert. An excellent performance of classical music was given by these artists on Tuesday morning. The first part, devoted almost exclusively to the works of Mendelssohn, exhibited graceful homage to the deceased master; yet more of friendship than of judgment was apparent in the selection, the later song compositions of Mendelssohn not being stamped with individuality of character-the impress of creative genius. In fact, such compositions as Home far away, By Celia's Arbour, and the unaccompanied Quartets, are but a multiplication of vocal common-places to which the name of the master may give a certain currency; but never did composer more grievously deceive himself if he imagined that such productions would create any freshness of sensation in musical hearers. Possibly they were esteemed but trifles by the author. The serenade in B minor, for pianoforte and orchestra, was well played by Mr. Lindsay Sloper; yet this composition did not altogether satisfy us, the pianoforte figures in it having been so often repeated in the works of Mendelssohn. Bach's concerto in D minor for the pianoforte, played by Messrs. Hallé, Benedict, and Lindsay Sloper, was very interesting, particularly in the finale, which abounds with magnificent sequences of harmony. The preceding parts have a certain stiffness and quaintness in melody and style, which the graces of a later school have indisposed us to relish. The finale in the in the major, taken from another concerto, and appended, to this work by Moscheles, is still finer and more effective than the real one in the minor, performed on this occasion. We were thankful, however, for hearing the work in its complete state delivered with the utmost mechanical precision. Mr. Lindsay Sloper is an excellent musician, and shows an intelligent appreciation of the art, in his inclination to the classical remains of the keyed instrument music of the last century. He is thus preserving a mechanism which has at all times the greatest influence on musical expression, though the more showy players of the day are gradually letting it slip through their fingers. The perfection of the legato style is certainly founded in the old music of Bach and Handel, and the model of natural modulations and the solid sequences of harmony exists in their works. It is time to revive a true idea of the importance of this music; Mendelssohn-we are thankful to him-began the good work, and it must be zealously pursued. Miss Dolby's vocal performances were the most interesting of the morning; she is always the musician of taste and feeling. The vocal quartets wanted a better bass, the powers of Mr. Seguin in this department belonging to history. (Atlas, Saturday, 3 June 1848) (Also: Atlas, Saturday, 3 June 1848.)

The concert of Miss Dolby and Mr. Lindsay Sloper was highly creditable to the taste of its givers. The first act, devoted to the music of Mendelssohn, contained some compositions hitherto unheard in England. First came a Psalm for mezzo-soprano solo and chorus, written for a collection of sacred music privately printed. Two of the movements are simpler in structure than most of Mendelssohn's sacred compositions; the third is one of those admixtures of solo and chorus which no modern writer has managed so well as he - and in which constructive power exercised on a simple phrase derives an effect (as sometimes happens in Handel's choruses*) from the very simplicity, by means of repetition. Mr. Sloper performed the Serenade and Allegro giojoso, Mendelssohn's forty-fourth work and last concert-piece for pianoforte solo. This, we believe, has not hitherto been played in England; and in interest and beauty it falls below the two Concertos and the Rondo in B minor - yet the close of the Serenade and the treatment of the allegro bespeak the master. It was well given. Miss Pyne and her sister sang two Duetts which were new to us, - the first as wild and simple as the two-part setting of Burns's O wert thou in the cauld blast. Mr. Lockey gave 'By Celia's arbour' in his best fashion - Miss Dolby, 'O rest in the Lord'; and the selection closed by two unaccompanied four-part Songs, in which the contralto and the tenor were joined by Miss Wallace and Mr. W. Seguin. So much interest, we repeat, is rarely given to that farrago of heterogeneous music - a benefit concert. We were glad also to hear Bach's triple Concerto in D minor, excellently played by Mr. Sloper, MM. Benedict and Hallé. *That illustration may not be wanting, let us point to the examples, "To thee cherubim," in the Dettingen 'Te Deum," and "The dead shall live," in Dryden's Ode. (The Athenaeum, Saturday, 3 June 1848)

Miss Dolby and Mr. Lindsay Sloper's Concert on Tuesday, at the Hanover-Square Rooms, attracted a very full audience, and was in every respect calculated to sustain the high position taken by these artistes. We were especially pleased with the Anthem by Mendelssohn, for the first time in this country, composed to Dr. Broadley's version of the 13th Psalm. The grand concerto for three Pianofortes, with orchestra by Bach was an elaborate fugue about as dry and unsentimental as is possible; it was finely played by Hallé, Benedict, and Sloper. Mr. Sloper favoured us with some pianoforte playing of the right school, and the Distins played the Cujus animam from Rossini's Stabat delightfully. Some good vocal music, by Miss Dolby and Madame Thillon made the concert a very complete and agreeable one. (The Literary gazette : A weekly journal of literature, science, and the fine arts, Saturday, 3 June 1848)

MISS DOLBY AND MR. LINDSAY SLOPER gave their grand Annual Morning Concert at the Hanover Rooms on Tuesday, which were crowded to suffocation : indeed we have seldom witnessed so large an assembly at a concert. The names of these distinguished artists are in themselves strong causes of attraction, and will always insure a numerous audience ; but on the present occasion the announcement of the performance of a new manuscript work from the pen of Mendelssohn, no doubt, tended to bring to the concert all the amateurs and connoisseurs in London. We subjoin the programme :- PART I. Overture-(St. Paul). - Mendelssohn. Anthem-"Why, O Lord," composed to Dr. Broadley's version of the Thirteenth Psalm (first time of performance). Contralto Solo, Miss Dolby; Principal Soprani, Miss Wallace and Miss Louisa Pyne; Contralto, Miss Pyne; Tenori, Messrs. Lockey and Genge; Bassi, Messrs. Calkin and W. H. Seguin; and Chorus, comprising the following Students of the Royal Academy of Music (by the kind permission of the Committee):-Misses Averile, Baxter, Bellamy, Bramhall. Brown, Chandler, Clarke, Cole, Cresswell, Deakin, Dix, Greaves, Hall, Hayward, Law, Owen, Rose, Rowe, Scott, Taylor, Tipper, Trebner, E. Ward, and N. Ward .- Mendelssohn Serenade and Allegro Giojoso (Op. 44)-Pianoforte (with Orchestral Accompaniments), Mr. Lindsay Sloper . - Mendelssohn Two Duets-"Home far away," and "Evening Song." (first time of performance) Miss Pyne and Miss L. Pyne . - Mendelssohn Song-"By Celia's arbour," Mr. Lockey .- Mendelssohn Song-"O rest in the Lord," Miss Dolby (by desire) (Elijah) - Mendelssohn Two Quartetts (unaccompanied)-"In the woods," and "On the sea," (first time of performance,) Miss Wallace, Miss Dolby, Mr. Lockey, and Mr. Seguin. - Mendelssohn Concerto-for three Pianofortes (with Orchestral Accompaniments), Messrs. C. Hallé, Benedict, and Lindsay Sloper - Bach PART II. Quartett-"Cujus animam," Sax Horns, the Messrs. Distin; accompanied on the Pianoforte by Mr. Willy, jun. - Rossini. Aria-"Io chiedo a queste fronde," Miss Dolby . - Ricci. Aria-"Qui la voce," Miss Wallace (I Puritani) - Bellini. Fantasia (Il Pirata)-Violin, Mr. Blagrove - Blagrove. Cavatina-"Une rose bien fleurie," Madame Anna Thillon (Emma) - Auber Duetto-"Di conforto," Miss Dolby and Signor Marras (La Vestale) - Mercadante Napolitaine (MS.)-Pianoforte, Mr. Lindsay Sloper - Lindsay Sloper New Ballad-"Spring is returning," Miss Dolby - G. Linley. Duet-"The Brigands," the Misses Pyne (Crown Diamonds) - Auber. Overture-(Jubilee) - Weber. It will be seen that the first part was entirely devoted to the works of Mendelssohn. The overture to St. Paul was very spiritedly played by a numerous and efficient band, led by Mr. Willy and conducted by Mr. Lucas. The anthem was written expressly by Mendelssohn for Dr. Broadley, in whose possession it has remained unheard, excepting by his immediate friends, since its presentation. Mr. Lindsay Sloper had the good fortune to prevail on Dr. Broadley to allow of its performance at his concert. The public are certainly indebted to Mr. Lindsay Sloper for exerting himself to produce a new work of the great master, which had not previously been heard. A first hearing will hardly allow us to give a decided opinion as to the merits of the anthem. As far as our impressions go, the composition is in every respect worthy the author of Elijah. The anthem consists of four movements: a solo in E flat for a mezzo-soprano voice, "Why, O Lord," original and singularly beautiful; a splendid corale in B flat, ' On thy love," with solo and semichorus; a solo and chorus, "Lord, my heart's devotion ;" and a final fugue for full chorus, "Let us sing," the subject of which is noble and bold, and the treatment in the highest degree masterly. The performance of the anthem was worthy the great work of a great master. Nothing was left undone to render it complete and effective. A glance at the names employed in the execution of the anthem will at once show the care expended on its production. We need scarcely say that the fullest justice was done to Mendelssohn's music. Miss Dolby sang the solos most beautifully. More pure or more conscientious singing it would be impossible to hear. We have seldom been more delighted with this charming artist than on the present occasion. She was in excellent voice, and felt that her best talents were called forth by no ordinary occasion. The Serenade and Allegro Giojoso present to the pianist an admirable opportunity of exhibiting in his performance the two different styles of the graceful and brilliant. Mr. Lindsay Sloper played both in a manner which proved him one of the most elegant and highly finished performers in the country. The cantabile of the serenade was no less instinct with tenderness and delicacy than the allegro was fraught with true poetic fire and enthusiasm. His performance, in short, was masterly in the extreme. The two duets of Mendelssohn were delightfully sung by the Misses Pyne. The blending of the two voices was quite perfect. These young ladies are pupils of Sir George Smart, and reflect the highest credit on his teaching. Mr. Lockey gave the song, "By Celia's arbour," with the greatest feeling and expression; and Miss Dolby the song from Elijah with exquisite tenderness and purity. The unaccompanied quartetts, from The Table Songs, were very finely rendered. Bach's concerto could hardly have been assigned to more able hands than those of Charles Hallé, Benedict, and Lindsay Sloper. It was magnificently played, and received with enthusiasm. The second part does not call for especial remarks. The programme will show that this part of the entertainment was sacrificed - but judiciously we will allow - at the shrine of popularity. Miss Dolby, in Ricci's bravura song, exhibited herself a proficient in the brilliant school of vocalization no less than in the classical. Miss Wallace's splendid soprano voice was heard to great advantage in Grisi's air from Puritani. This lady is undoubtedly an admirable artist, and has a very superior style. We hope ere long to have the pleasure of recording her triumphant success on the stage. Blagrove's violin solo was a capital performance; and Madame Anna Thillon was as delightfully captivating as ever in her French cavatina. Mercadante's duet lost none of its effect in the hands of Miss Dolby and Signor Marras. Mr. Lindsay Sloper again delighted his hearers with his brilliant execution in his Neapolitaine. Miss Dolby sang Linley's ballad with her own peculiar quietude and intensity, which failed not to move her audience to the heart. The Misses Pyne, once more, sang even as one voice would sing, and the Jubilee overture terminated one of the very best concerts we have heard for a considerable time. Mr. Lucas conducted the first part, and Mr. Benedict the second. (The Musical World, Saturday, 3 June 1848) (Also: The Musical world, Saturday, 3 June 1848.)

Queen's Concert Rooms, Hanover-square.-On Tuesday Miss Dolby gave her annual concert in the above rooms, which, as is always the case on similar were well filled in every part. The programme was very interesting one, the first part consisting entirely of selections from the works of the much lamented Mendelssohn. Amongst the artistes engaged in the performance of these selections were-vocal: the Misses Dolby, Wallace, and Pyne, with Messrs. W. H. Seguin and Lockley; instrumental: Messrs. Lindsay Sloper and Blagrove. In the second part some ballads were sung by Miss Dolby with much cleverness and sweetness, also an air by the pretty and fascinating Madame Anna Thillon. The Messrs. Distin, with their sax horns, were also present; and altogether concert went off exceedingly well. Mr. O. Lucas was the conductor of the first part, and, and Mr. Benedict of the second. (Bell's Weekly Messenger, Monday, 5 June 1848)

Saturday, 3 June 1848 : Miss Bassano's Matinée at the Residence of Mrs. Edward Tyrrell, Hinde Street, Manchester Square.

Miss Bassano's Matinee Musicale.-This concert took place on Saturday, at the house of W. Tyrrel, Esq., Hinde-street, and was fashionably attended. Miss Bassano is a highly accomplished vocalist, and, with the aid of Madame Caradori Allan, the Misses Birch, Mr. Sims Reeves, Mr. Bodda, and Mr. Stretton, gave a very agreeable entertainment, Madame Goffrie, Mr. F. B. Jewson and Mr. Lindsay Sloper (pianoforte), and Piatti (violoncello), Goffrie, and Hermann (violin), being the solo instrumentalists. (Illustrated London News, Saturday, 10 June 1848)

CONCERTS. MISS BASSANO's MATINEE took place at the private residence of Mrs. Edward Tyrrell, Hinde Street, Manchester Square, on Saturday last, before an elegant and fashionable audience. We are delighted to welcome back this young lady into her legitimate sphere, the concert room, where her voice is heard to advantage, and her unaffected manners gain her universal esteem. The vocalists, who assisted Miss Bassano, were Miss Birch, Miss Eliza Birch, Madame Caradori Allan, Miss Messent, Mr. Bodda, Mr. Stretton, Mr. Calkin, and Mr. Sims Reeves; the instrumentalists, Madame Goffrie, Mr. Lindsay Sloper, and Mr. F. Bowen Jewson, pianoforte; Signor Piatti, violoncello; and Mr. Hermann, violin. Miss Bassano sang Mercadante's Cavatina, "Semi abbandonai," Donizetti's duet, "Senza tanti complimenti," with Mr. Bodda, and a charming new ballad, "Kathleen is gone," by Mr. Walter Maynard, a composer, whose name is becoming familiar to the lovers of the ballad style; in all these pieces Miss Bassano distinguished herself most favourably. The length of the programme prevents us giving a detailed account of the various morceaux. We must be content to mention Mr. Reeves, in Mercadante's Romanza, "In terra ci divisero,"; Mr. Bodda in the area, "Per veder,"; Piatti's violoncello solo on themes from the Sonnambula; Lindsay Sloper's performance of several of Mendelssohn's "Lieder ohne Worte." (the one in E major from the third, that in A major from the fifth, and the one in C major from the sixth book), and lastly, Madame and Herr Goffrie and Signor Piatti, in Mayseder's grand trio in A flat major, for pianoforte, violin, and violoncello, each and all performances of merit. In the second part was a pretty duet, the Gondoliers, by Walter Maynard, sung by Miss Birch and her sister, Miss Eliza Birch, who, we may say, en passant, is quite as pretty as the duet; the romance "Sombre forets," by Madame Caradori, and Mozart's beautiful aria "Deh vieni non tardar," sung by Miss Messent with artistic feeling. Herr Hermann won great distinction in a violin fantasia: nothing can well be purer and more finished than his execution. Mr. F. Bowen Jewson played his rhapsody, No. 1 from op. 5 and Schulhoff's galop, in a manner to maintain his credit as one of our very best pianists. The concert altogether gave perfect satisfaction to all present. (The Musical world, Saturday, 10 June 1848)

Saturday, 10 June 1848 : M. Alexandre Billet's Matinée at Willis's Rooms, King-Street, St. James's.

M. BILLETT of St. Petersburgh begs to announce that his MATINEE MUSICALE will take place at Willis' Rooms. THIS MORNING, at Half-past Three, on which occasion he will perform several of his most favourite compositions for the pianoforte : also Hummel's Septuor, with Messrs Barret, De Folly, Jarrett, E. Hill, Rousselot, and A. Rowland. Vocalists- Madame Sabatier, Miss Messent. and Herr Brandt. Conductor, Mr. L. Sloper. Tickets at Cramer, Beale, and Co.'s, 201 Regent-street, and at the principal Musicsellers. (Morning Chronicle (1801), Saturday, 10 June 1848) (Also: Morning Chronicle (1801), Tuesday, 13 June 1848; Morning Chronicle (1801), Saturday, 10 June 1848; Illustrated London News, Saturday, 10 June 1848; Morning Post, Saturday, 10 June 1848.)

CONCERTS. M. BILLET.-This concert-giver is one of the many expatriated foreigners who have taken a temporary refuge in quiet London from the storms of turbulent Paris. M. Billet is a pianist of talent, and of some note in his own country. He is also a composer of fantasias, notturnos, &c. His matinée occurred on Saturday, Willis's Rooms being the locale. The attendance was at least fashionable. M. Billet played three times. His first essay was in that classical refuge of pianists à la mode, the D minor septet of Hummel, in which he received efficient aid from Messrs. Ribas (flute), Barret (oboe), Jarrett (horn), Hill (tenor), Rousselot (violoncello), and Rowland (contrabasso). M. Billet went through this heavy composition with praiseworthy energy, taking the scherzo a little too rubato, and the finale a trifle too vivaciously, but on the whole making a brilliant display. The next performance of M. Billet was a fantasia of his own composition, on themes from the Puritani. This fantasia is half an hour long, and in the Thalberg school; M. Billet gave a peculiar colouring to his execution of the passages, which was quite in character with the work. The third essay of M. Billet involved yet other compositions of his own in the shorter and consequently more agreeable shape of a notturno and étude; for these we were unfortunate enough not to be able to remain, but the Chronicle says they are "in the sentimental school." Altogether M. Billet's manner of playing and composing are of a kind to find admirers among the votaries of the modern style of pianism; moreover, his demeanour is so unaffected as to be greatly in his favour. The concert was varied by a violoncello solo, played by Rousselot in Rousselot's best style; by a song of Mozart's, rendered with great intelligence by Miss Messent, who also gave Walter Maynard's popular ballad, "Kathleen is gone," very prettily; by a song in F minor, from Haydn's Orfeo and Mendelssohn's Zuleika, which Mr. Brandt essayed to interpret with all his might; and last (not least) by some sparkling French romances from the repertory of the charming Madame Sabatier, who sung them herself in her own peculiar and inimitable style. The first of these was "Ma Brunette," the second "Benedetta," and the third (in response to a warm encore) a romance, of which we failed to note down the name at the time, whereby it has treacherously slipped our memory; we recollect, however, that it was very pretty, and that it was deliciously warbled by the "fauvette à la tête noire," whose pardon we humbly ask for our forgetfulness. One of the great charms of Madame Sabatier's performances lies in the strong evidence they offer of a musical depth rarely found in vocalists, especially foreign vocalists; she plays the pianoforte with the utmost facility, and accompanies herself with exquisite delicacy moreover there is a certainty and a finished grace about her roulades and fioriture; which equally proclaim the musician and the practised singer. In short it would be difficult to find a more pleasing combination of talent and feeling than is demonstrated by Mad. Sabatier, who richly deserves her Parisian repute. M. Billet is entitled to consideration for having supplied his friends with a highly agree able and well varied programme. Mr. Lindsay Sloper conducted with his usual musician-like ability. (The Musical world, Saturday, 17 June 1848)

Monday, 26 June 1848 : Mr. Julius Benedict's Grand Annual Concert at Great Concert Room, Her Majesty's Theatre.

M BENEDICT'S ANNUAL MORNING CONCERT.- Under the immediate Patronage of her Most Gracious Majesty the Queen and the Royal Family. In the Great Concert Room of her Majesty's Theatre, on MONDAY, the 26th JUNE. Principal Vocalists: Mesdames Tadolini, Cruvelli, Schwarz, Vera, Sabatier, Dorus Gras, &c. &c. Signori Gardoni, Coletti, Lablache, Mr John Parry, &c. Piano: Messrs Thalberg, Hallé, M. Benedict, and Lindsay Sloper. Violin: M. Molique and Herrmann. Violincello: M. Piatti, &c. &c. Arrangements are still pending with several distinguished artistes. The Programme will be published on Monday, June the 19th. Early application for Boxes, Stall, and Pit Tickets is respectfully solicited. To be had at all the principal Libraries and Musicsellers, and of H. Benedict, 2 Manchester-square. (Examiner, Saturday, 10 June 1848)

MR BENEDICTS GRAND ANNUAL CONCERT.- Principal Vocal Performers :- Madame Tadolini, Mdlle. Cruvelli, Mdlle Vera, Mdlle. M. de Mendi, Mdlle. Schwartz, Mdme. Sabatier, Mdme. F. Lablache, Miss Dolby, the Misses Williams, and Madame Dorus Gras ; Signor Gardoni. Signor Marras, Mr. Sims Reeves, Signor Brizzi, Mr. Brandt, Signor Lablache, Signor Coletti, Signor Belletti, Signor Ciabatta, Signor F. Lablache, Herr Pischek. and Mr John Parry. Arrangements are pending with other celebrated vocalists. Instrumental Performers: - Pianoforte, Messrs. Thalberg, Hallé, Benedict, and Lindsay Sloper; Violins, Herr Molique and M. Hermann; Violoncello, Signor Piatti; Flute, Mr. Pratten ; Sax Horns, the Distin Family. Conductors. Messrs. Balfe and Benedict. Leaders, Messrs. Tolbecque and Willy. The above distinguished artistes will all perform at M Benedict's Annual Grand Morning Concert on MONDAY, June 26 in the Great Concert Room of Her Majesty's Theatre, under the immediate patronage of her Most Gracious Majesty the Queen and the Royal Family. Early application is solicited for PRIVATE BOX; - STALLS, and PIT TICKETS, which may be secured at all the principal Libraries and Musicsellers, and of M. Benedict, 2, Manchester-square. (Morning Chronicle (1801), Saturday, 10 June 1848) (Also: Morning Post, Saturday, 10 June 1848; Illustrated London News, Saturday, 10 June 1848; Morning Chronicle (1801), Saturday, 10 June 1848; Morning Post, Monday, 12 June 1848; Morning Chronicle (1801), Tuesday, 13 June 1848; Morning Post, Wednesday, 14 June 1848.)

BENEDICT'S ANNUAL MORNING CONCERT, under the immediate patronage of her Most Gracious Majesty the QUEEN, and the Royal Family, in the Great Concert Room of HER MAJESTY'S THEATRE, on MONDAY, 26th June. Principal Vocalists, Mesdames Tadolini, Cruvelli, Schwarz, Vera, Tabatier, Dorus Gras, &c. Signori Gardoni, Coletti, Lablache, Mr. John Parry, &c. Piano, Messrs. Thalberg, Hallé, M. Benedict, and Lindsay Sloper. Violin, H. Molique and Hermann. Violoncello, M. Piatti, &c. &c. Arrangements are still pending with several distinguished Artistes. The programme will be published on Monday, June 19.-Early application for Boxes, Stalls, and Pit Tickets is respectfully solicited, at all the principal Libraries and Music-sellers, and of M. Benedict, 2, Manchester-square. (John Bull, Saturday, 10 June 1848) (Also: John Bull, Saturday, 10 June 1848.)

M. BENEDICT'S ANNUAL MORNING CONCERT UNDER THE IMMEDIATE PATRONAGE of HER MOST GRACIOUS MAJESTY THE QUEEN AND THE ROYAL FAMILY IN THE CONCERT ROOM OF HER MAJESTY'S THEATRE, On MONDAY, JUNE 26th. Principal Vocalists - Mesdames TADOLINI, CRUVELLI, SCHWARZ, VERA, SABATIER, DORUS GRAS, &c. Signori GARDONI, COLETTI, LABLACHE, Mr. JOHN PARRY, &c. Piano, Messrs. THALBERG, HALLE, BENEDICT, and LINDSAY SLOPER. Violin, M. MOLIQUE and M. HERRMAN. Violoncello, M. PIATTA. &c. &c. Arrangements are still pending with several distinguished Artistes. The Programme will be published on Monday next, June 19. Early application for Boxes, Stalls, and Pit Tickets is respectfully solicited at the principal Libraries and Music Sellers, and of M. BENEDICT, 2, Manchester Square. (The Musical world, Saturday, 10 June 1848)

M. BENEDICT'S Annual Morning CONCERT, under the immediate patronage of her Most Gracious Majesty the QUEEN and the ROYAL FAMILY, in the GREAT CONCERT-ROOM of HER MAJESTY'S THEATRE, on Monday, June 26. - Mesdames Tadolini, Cruvelli, Schwartz, Vera, Sabatier, Dorus Gras, &c.; Signori Gardoni, Coletti, Lablache, Mr. John Parry, &c. Piano, Messrs. Thalberg, Hallé, M. Benedict, and Lindsay Sloper. Violin, MM. Molique and Hermann. Violoncello, M. Piatti, &c. The Programme is now ready. Early application for Boxes, Stalls, and Pit Tickets is respectfully solicited at all the principal Libraries and Music-sellers; and of M. Benedict, 2, Manchester-square. (The Lady's Newspaper & Pictorial Times, Saturday, 17 June 1848)

M. Billet's Matinee Musicale.- M. Alexandre Billet, of St. Petersburgh, gave a concert on Saturday morning at Willis's Rooms. He played Hummel's pianoforte septuor, with Barret (oboe), De Folly (flute), Jarrett (horn), Hill (viola), Rousselot (violoncello), and Rowland (contra basso); fantasia on themes from Bellini's Puritani ; and studies and a nocturne of his own writing. He a skilful performer, and was much applauded. The vocalists were Miss Messent, Madame Sabatier, and Herr Brandt, with Mr Lindsay Sloper as conductor. (Illustrated London News, Saturday, 17 June 1848)

MR. BENEDICT'S CONCERT. The "monster-entertainment" of this distinguished musician is announced for Monday morning, the 26th instant. As usual, Mr. Benedict has gathered into one focus almost all the available talent, vocal and instrumental, in the metropolis. For particulars, we must refer the reader to our advertisement columns, where he will perceive a startling list of celebrated names. Benedict has been able to do what no other concert giver has hitherto compassed. He brings together adverse elements, and makes them harmonise. As an instance, the names of Thalberg and Charles Hallé, the two great heads of two great schools of piano-forte playing on the continent, where pianists grow on every bush, are to be found in Mr. Benedict's programme, and from the conjunction of two other names of great distinction in the world of pianism-Lindsay Sloper, and Benedict himself, (not the least of whose accomplishments is that of being a classical pianoist of the first rank) - we may expect a "Bach concerto," or something of the sort, for four piano-fortes, which, interpreted by such masters of their art, will be a rich treat. We have little doubt that the usual overflow of rank and fashion, and the customary melée of artists and connoisseurs, will attend, and render Mr. Benedict's concert as brilliant and exciting as ever. (The Musical world, Saturday, 17 June 1848)

Monday, 7 August 1848 : Mr. H. J. St. Leger's Soirée Musicale at 15, Saville Row, The Residence Of James Yearsley, Esq.

Soirée Musicale. - A very recherche soirée musicale took place on Monday evening, at the residence of James Yearsley, Esq., Saville-row, when several distinguished English professors, and many of the most celebrated vocalists of Her Majesty's theatre, lent their valuable aid to the brilliancy of the evening. The soirée was under the direction of an amateur, well known for his enthusiastic love of music. The great features of the evening were, the splendid execution of " Le tremolo" of De Beriot, performed on the violin by Miss Rosina Collins, the fine aria, " Nuova ferita," from Mercadente's Il Reggente. sung by Signor Coletti, with, an abandon of style and power of voice that astounded as much as it pleased ; the exquisite singing of Signor Gardoni, of the Romance from La Favorita, and the admirable rendering by Miss Bassano of a charming romance, written and composed by Mr and Mrs. H. J. St. Leger. The melody is pleasing and original, the harmony scientific and not difficult. Mdlle. Guenee performed a charming caprice, of her own composition, remarkable for its variety and originality. Her style is at once energetic, delicate, and impassioned. Mr. Wallace and Mr. Lindsay Sloper were the conductors of the evening. (Morning Post, Wednesday, 9 August 1848)

CONCERTS. THALBERG's CONCERT.-We owe many apologies to this eminent pianist, and to our readers, for having deferred till now the record of this interesting performance. "Better late than never," however, is a good make-peace when "Bis dat qui cito dat" has been broken on the wheel. The programme of M. Thalberg's concert, which took place some three or four weeks since, in the great music-room of Her Majesty's Theatre, was short and sweet, wherefrom it derived additional interest. The chief performers were Madlle. Lind, Gardoni, Belletti, Coletti, Lablache, and the concert-giver. We cannot recollect the details of the concert, but we have not lost the impression produced upon us by Thalberg's magnificent playing ; which was exercised to the highest advantage in two fantasias-the Don Pasquale and Lucrezia Borgia, if we remember rightly-and in the new Tarantella so universally admired, prefaced by a charming Barcarole just composed, a very finished and elegant specimen of Thalberg's sentimental style. To relate how marvellously well each and all of these were executed, and what enthusiasm they individually excited, were now too late ; moreover, it would be a tale of very ancient origin, for Thalberg is used to triumphs and tired of adulation. We cannot omit, however, to mention the surprise we experienced that Thalberg should decline to accept the several encores that were bestowed upon his performance by an immensely crowded and brilliantly fashionable room. We suppose there were state reasons. Mdlle. Jenny Lind sang the cavatina in A flat from Der Freischütz, the "Singing lesson" of Fioravanti with Lablache, some thing else which we had forgotten, and two of her "Swedish melodies." The duet and the melody in which she takes the sharp seventh were encored, and Mdlle. Lind, wiser than Thalberg, accepted the encores without ceremony. The other vocal pieces were selected from the favourites of the Italian repertoire. Gardoni must be specially noticed for the exquisite fervor and grace with which he sang the first romance from La Favorita. This also was loudly encored, but "for state reasons." Gardoni declined to respond to the unanimous demand. M. Maretzek accompanied the vocal pieces, excepting those of Mdlle. Jenny Lind. Thalberg, to quote the strange announcement of the programmes, "had the honor" of accompanying Mdlle. Lind. It was, perhaps, a misprint, and should have been, "Mdlle. Lind will have the honor of being accompanied by M. Thalberg." MR. H. J. ST. LEGER gave a Soirée Musicale on Monday, at 15, Saville Row, the residence of James Yearsley, Esq., which was well attended. The entertainments provided were of an excellent kind, and the performers included several of the musical notorieties of the season. Among the vocalists were Madame Sabatier, the Misses Emma, Rosina, and Victoria Collins, Miss Dulacher, Miss Bassano, Mr. T. Williams, and the Signori Gardoni and Coletti; and among the instrumentalists, Mademoiselle Hélène Stoepel (piano), Mademoiselle Guenée (piano), Mr. Vincent Wallace (piano), and M. Remusat (flute). Mademoiselle Hélène Stoepel performed a concertante duet with Miss Rosina Collins, for piano and violin, the composition, we believe, of the fair and talented pianist. The duet was finely executed. We were particularly struck with the brilliant manner in which Mademoiselle Stoepel played, and the tone of musical feeling she infused into her performance. Mademoiselle Stoepel also played a tarantella of her own composition very admirably, and was loudly applauded. Miss Wallace sang "Qui la voce," and produced a great effect by the ease with which she overcame the bravura passages, and the delicacy with which she delivered the piano phrases. Miss Wallace has a soprano voice of power and clearness, and is altogether an accomplished vocalist. Miss Bassano sang a ballad, the composition of Mrs. St. Leger, with words by Mr. St. Leger. The ballad is very pleasing, and the arrangement is excellent. It was encored. We have seldom heard Miss Bassano sing a ballad with more effect. Mr. T. Williams also introduced a ballad, called "One Smile from Thee," the joint production of Mr. and Mrs. St. Leger. This composition is, we think, more happy than the first, although perhaps it would not meet so many admirers in a general audience. Mr. T. Williams delivered it with much feeling. Signor Gardoni and Signor Coletti gave a romanza each - the former with infinite sweetness, the latter with graphic power and effect. Mons. Remusat performed a fantasia on the flute in first rate style. He is a highly finished player. The charming Madame Sabatier - the "fauvette a tête noir," - the admired of all musical circles, and the idol of her own, introduced "La Fontaine aux Perles," and "Ma Brunette," and delighted the audience with her grace and expression, and naiveté, and sundry other qualifications and peculiarities, which she seems to have absorbed in her own individual person. Miss Durlacher, Balfe's most promising pupil, sang the cavatina, "O luce di quest' amina," with brilliancy and power. Her voice is clear and silvery, and is managed with an ease quite captivating. Miss Durlacher, after her performance, obtained the warmest applause. Mr. Vincent Wallace played his "Reve" on the piano, and produced a marked sensation by the delicacy and expression of his performance. Mademoiselle Guenée played a solo on the piano, and the Concert concluded with a Terzettino by the Misses Collins. Apologies were made for the Misses Williams and Mr. W. H. Holmes, whose names appeared in the affiches. Vincent Wallace and Lindsay Sloper acted as conductors. (The Musical world, Saturday, 12 August 1848)

MRS. HEYWARD ST. LEGER'S SOIREE MUSICALE took place on Monday evening last, at the residence of Thomas Yearsly, Esq., the celebrated artist, Madame Sabatier, Miss Bassano, Miss Durlacker, the Misses Collins, Madame Stoepel, Madame Guenne, Signors Gardoni and Coletti, Herr [?], and Mr. T. Williams, were the artists who assisted. Vincent Wallace and Lindsey Sloper were the conductors. Miss Rosina Collins charmed every person present by her admirable performance on the violin, and, in conjunction with her sisters, sang several pretty trios. Miss Bassano sang a charming ballad, The Forsaken Mother, by Mrs. St. Leger, most exquisitely; it is a lovely composition, full of elegant and graceful melody, and within the reach of any moderate voice. Coletti introduced a most effective romance, which was greatly admired. Mr. Wallace performed a brilliant solo of his own composition on the pianoforte. Madame Helen Stoepel and Madame Guenne, from the Conservatoire, played fantasias on the same instrument with great effect. Mr. T. Williams interpreted Mrs. St. Leger's sweet song, "One smile from thee," with great taste. The soiree altogether passed off with great eclat, and was one of the most agreeable of the season just ended. The gratification expressed towards the accomplished lady, and her kind-hearted cara sposa, who gave this musical treat to her friends, was the theme of conversation amongst the elite of the fashionable world who who had the good fortune to be present. (The Era, Sunday, 13 August 1848)

NEW MUSIC … Fantasie Brillante from Les Huguenots, Piano, Lindsay Sloper. -We have in this a brilliant, dashing piece in A flat; less difficult, perhaps, than the intricacies of Thalberg and Dohler, but still with sufficient quantity of complicated passages, accidentals, and double flats, to tax the abilities of a moderately good player. The melodies are well preserved, and it is less difficult than it first appears, from the excellent way in which it is fingered. The change in page 7, from the key of A flat to the charming scherzando in F, managed with very good effect. (Bell's New Weekly Messenger, Sunday, 20 August 1848)

Friday, 1 September 1848 : Mr. B. R. Isaac's Concert at Royal Amphitheatre, Liverpool.

MR. B. R. ISAAC'S CONCERT. In our notice of this concert, on Friday, (which took place at the Royal Amphitheatre on Tuesday last,) the following critique was omitted for want of space. Mdlle. Alboni sang the scena "Tracqui all' affans," from " La Cenerentola," in which she has been so successful in London…The gem of the instrumental music was the Mendelsohn Concerto; to many of our readers it will, doubtless, be familiar, having been played by Mr. Lindsay Sloper at the Philharmonic in September last. It is a composition of very high order, the construction and working out evidencing not only the existence of genius, but also of great research and knowledge of various musical effects, and although very difficult of performance, appeals to the feelings rather than astonishes by its elaborate and florid nature. Mr. Isaac's conception and delivery of the work were conscientious and musician-like; his execution was marked by great expression, and a strict observance of his author; in the serenade and commencement of the allegro he was particularly happy. … (Liverpool Mercury, Tuesday, 5 September 1848)

Friday, 8 September 1848 : Messrs. D. & F. Smith's Concert at Royal Subscription Rooms, Exeter.

ALBONI IN EXETER! FRIDAY Evening, SEPTEMBER 8th 1848. MESSRS. D. & F. SMITH wishing by every available means to add to the popularity of their Concerts, and to present to their patrons a succession of the most brilliant Musical attraction, have extreme gratification in announcing that they have, at an enormous expense, engaged the celebrated Contralto MADLLE ALBONI Prima Donna of the Royal Italian Opera, Covent Garden, Who will have the honour of making her FIRST and ONLY APPEARANCE in the SUBSCRIPTION ROOMS, EXETER, on FRIDAY EVENING SEPTEMBER 8th, 1848, at 8 o'Clock.. - PRINCIPAL PERFORMERS. MADLLE. ALBONI, MRS. WEISS; MR. WEISS, MR. REAY, AND MR. LINDSAY SLOPER. Messrs. Smith wishing to give every possible facility to the public desire, have determined upon charging only the following moderate prices for admission: Single Tickets, Half-a-Guinea or three for £1 4s. The sale for Tickets will commence at their Establishment, and at the different Music shops in Exeter, on FRIDAY, the 1st SEPTEMBER, and following days. In order to avoid any inconvenience that might attend a crowded concert, the seats will be numbered correspondingly with the tickets, whereby each seat will become a " Reserved Seat;" and no more Tickets will be issued than the room can conveniently accommodate. The approach to the room will be by the grand entrance only, and not by the orchestra door. In conclusion, Messrs. Smith deem it necessary to state, that the announcement of this great event has been withheld in deference to the Governors of the Hospital, and to the Gentlemen interested in the Concert in aid of its funds; under these circumstances they venture to give expression to the hope that their patrons will condescend to aid their endeavours, and thus lessen individual responsibility, by using their kind influence among friends with a view to increased publicity, so that this very onerous undertaking may not be prejudiced by the delay in announcing it. (Trewman's Exeter Flying Post, Thursday, 31 August 1848) (Also: Western Times, Saturday, 2 September 1848; Exeter Flying Post, Thursday, 31 August 1848; Exeter and Plymouth Gazette, Saturday, 2 September 1848.)

ALBONI IN EXETER; MESSRS. D. AND, F. SMITH, HAVE the honor to announce the first and only performance of MADLLE ALBONI, At the SUBSCRIPTION ROOMS, EXETER, on FRIDAY Evening next, assisted by MRS. WEISS, MR. WEISS, MR. REAY, AND MR. LINDSEY. SLOPER. The programme will comprise the celebrated Scenas from Betly and Cenerentola. Single Tickets, Half-a-Guinea; or Three for £1 4s., Doors open it Seven, Concert at Eight. (Trewman's Exeter Flying Post, Thursday, 7 September 1848)

The Cantatrice Alboni. -The concert of Messrs. Smith at the Royal Subscription Rooms, in this city, on Friday, was attended by a large and highly fashionable audience, who received the fair songstress of the night, on her appearance in the Orchestra, with a burst of applause. Her execution of the aria and ronda from " Cenerentola," was brilliant in the extreme ; indeed such was the fascination with which she rivetted her audience by the marvellous powers she displayed in singing "Nacqui all' Affano," that the enthusiasm which it excited appeared for a time to have no bounds, and it was not until the company had almost exhausted themselves that she could proceed with the famous " Non piu Mesta;" which, as might be expected, was loudly encored. She was equally successful in her performance of "In questo semplice." Mr. and Mrs. Weiss, and Mr. Lindsay Sloper were also loudly applauded in their departments of the performance. (Exeter and Plymouth Gazette, Saturday, 16 September 1848)

ALBONI AT EXETER. (From a Correspondent,) The following is the programme of the concert in which Alboni gained her usual laurels, and met with the greatest possible success:- PART I. Terzetto, Madlle. Alboni, Mrs. Weiss, and Mr. Weiss "L'Usato Ardir," Semiramide . - Rossini Song, Mr. Weiss, "Tarry here, my servant," - Mendelssohn Cavatina, Mrs. Weiss, "O mio Fernando," La Favorita - Donizetti Fantasia, pianoforte, Mr. Lindsay Sloper, Masaniello - Thalberg Aria, "Nacqui all' affano," and Rondo, "Non piu mesta,"Cenerentola, Madlle. Alboni. - Rossini. Cavatina, Mr. Weiss, "Si miei prodi" - Pacini. Duetto, Madlle. Alboni and Mrs. Weiss, "La regatta Veneziana" - Rossini. PART II. Duet for two grand pianofortes, Mr. Lindsay Sloper and Mr. Reay, "Homage to Handel," - Moscheles Duetto, Madlle. Alboni and Mr. Weiss, "Dunque io son," Il Barbiere .- Rossini Ballad, Mrs. Weiss, "Gondolier," Daughter of St. Mark - Balfe Song, Mr. Weiss, "Sentinels," Castle of Aymon - Balfe Tyrolienne, Madlle. Alboni, "In questo semplice," Betly - Donizetti Lieder ohne Worhte (Songs without Words), pianoforte, Mr. Lindsay Sloper - Mendelssohn. Duo, Mr. and Mrs. Weiss, "Soffriva nel pianto," Lucia - Donizetti. Trio, Mademoiselle Alboni, Mr. and Mrs. Weiss, "Vadasi via di qua" - Martini. The room was crowded; upwards of five hundred persons were present, who expressed their delight by enthusiastic applause. Mr. and Mrs. Weiss came in for their share of approbation, and Lindsay Sloper's pianoforte playing quite came up to the expectations formed from his London reputation. (The Musical world, Saturday, 16 September 1848)

Saturday, 9 September 1848 : Mademoiselle Alboni's Concert at Salle De Musique, Hotel, Plymouth.

MUSICAL MEMORANDA…Alboni, with Mr. and Mrs. Weiss, sang at Exeter and Plymouth on Friday and Saturday. They will be at Plymouth to-day. To-morrow, Alboni will proceed to Norwich ; from thence, at the end of the festival, the party will give concerts at Leamington, Cheltenham, Bristol, and Bath, accompanied by Mr. Lindsay Sloper, the eminent pianist. (Morning Post, Monday, 11 September 1848)

ALBONI AT PLYMOUTH, (From our own Correspondent.) The long looked-for event of Alboni's visit to Plymouth came off on Saturday last. The whole town was on the qui vive, and the hotel (one of the largest in England) was literally crammed with persons who had come from all parts of this and the adjoining counties to hear this gifted and extraordinary vocalist. So full was the place that the room opposite the salle de musique, hitherto always set apart for the artistes, was divided into two rooms by a screen. At an early hour the concert room began to fill with all the nobility and gentry of the neighbourhood, and by eight o'clock not a seat was to be obtained for love or money, and I must say that a more brilliant assemblage of rank and beauty has been rarely seen, even in the metropolis. The general officer of the troops quartered here being present, all the military were in uniform, which added much to the appearance of so large an assemblage. The following was the programme of the concert:- Terzetto, Madlle. Alboni, Mrs. Weiss, and Mr. Weiss "L'Usato Ardir," Semiramide . - Rossini Song, Mr. Weiss, "Tarry here, my servant," - Mendelssohn Cavatina, Mrs. Weiss, "O mio Fernando," La Favorita - Donizetti Grand Fantasia on airs in Masaniello, pianoforte, Mr. Lindsay Sloper, - Thalberg Cavatina and Rondo, "Nacqui all' affano,"and "Non piu mesta,"Cenerentola, Madlle. Alboni. - Rossini. Romanza, Mr. Weiss, "Si miei prodi" - Pacini. Duetto, Madlle. Alboni and Mrs. Weiss, "La regatta Veneziana" - Rossini. PART II. Duetto, Madlle. Alboni and Mr. Weiss, "Dunque io son," Il Barbiere .- Rossini Ballad, Mrs. Weiss, "Gondolier," Daughter of St. Mark - Balfe Cavatina, Mr. Weiss, "Sentinels," Castle of Aymon - Balfe Scena from the Opera Betly "In questo semplice," and "Tyrolienne", Madlle. Alboni - Donizetti Galop di bravura, pianoforte, Mr. Lindsay Sloper - Schulhoff. Duo, Mr. and Mrs. Weiss, "Soffriva nel pianto," Lucia - Donizetti. Terzetto, Mademoiselle Alboni, Mr. and Mrs. Weiss, "Vadasi via di qua" - Martini. The appearance of Alboni was the signal for one tremendous cheer from every part of the room; and at the end of the trio, "L'Usato ardir," the cheer was repeated with still louder shouts of deafening applause. I can scarcely say which was the most boisterous encore, the "Non più mesta," or the scena from Betly, "In questo semplice." On being called on to repeat the latter she sang "Il segreto," from Lucrezia Borgia. The effect of this was electrifying, the ladies waving their handkerchiefs, and many resident musicians who had not an opportunity of hearing her before seemed lost in astonishment at the ease and facility of execution with which she went through her extraordinary vocalization. Lindsay Sloper was the accompanist at the pianoforte, and also played a fantasia, by Thalberg, and several of Mendelssohn's delightful pieces from the Lieder ohne worte, and Schulhoff's popular galop. He has been here before, and was welcomed with a reception that must have shewn him that the Plymouth public have a lively recollection of his talents on former occasions. He played with surprising execution and effect, but his reputation is too well known to need comment. Weiss was in excellent voice, and was warmly applauded in "Tarry here, my servant." Mrs. Weiss, very much improved since her appearance at Drury Lane, sang with considerable point and skill, and greatly disappointed the audience in not responding to a very general encore to "O mio Fernando," from the Favorita. I must conclude by saying, that no singer was ever in Plymouth who created such a sensation and left such agreeable reminiscences with her audience as Alboni. A word of praise is deservedly due to Mr. Rowe for his engagement of such talent, and I heartily wish him success in all his undertakings, for he is always ready to bring before his patrons the highest talent in the market, at whatever price it is to be had. On Monday evening Mrs. Nisbett made her appearance at the Theatre, with her sister, Miss Jane Mordaunt. She opened in The Love Chase, and played Constance as she alone can play this part. On Tuesday London Assurance was done for the purpose of introducing her as Lady Gay Spanker, which she played with all her wonted spirit. The garden scene in this was beautifully arranged, all the wings being removed, and beds of real flowers were placed on the stage. This scene alone must have cost Mr. Newcombe a large sum of money, but he is remunerated by excellent houses. Last night The Hunchback was played. Mrs. Nisbett's Helen was charming, and Newcombe's Modus was the best thing I have seen him do. It was not the low comedy character we often see it made, but the shy quaint scholar of the author. The houses have been excellent all the week, Mrs. Nisbett plays at Bath on Monday. T. E. B. Sept. 15th. (The Musical world, Saturday, 16 September 1848)

Monday, 11 September 1848 : Mademoiselle Alboni's Grand Morning Concert of Vocal & Instrumental Music at Town Hall, Reading.

TOWN HALL, READING.(By permission of the Worshipful the Mayor) GRAND MORNING CONCERT, Mademoiselle Alboni has the honour to announce to the Nobility and Gentry of Reading and its Vicinity, that she intends giving a GRAND CONCERT of VOCAL & INSTRUMENTAL MUSIC, as above, on Monday Morning, the 11th September, 1848; to commence at One o'clock. The following Artistes are engaged for the occasion :- Vocalists. Mademoiselle ALBONI, Miss BARRITT, Mr. WILLOUGHBY WEISS. Instrumental Performers. Flute-Mr. CARTE, Who will introduce the new metal Boehm Flute; Piano Forte- Mr. LINDSAY SLOPER, Who will perform on one of Messrs. Broadwood and Co's. new Patent Grand Instruments, which will be sent from London expressly. Single Tickets, 7s.; Family ditto, to admit Four Persons, 24s.; to be had of Mr. Golding, Friar Street, Reading. (Berkshire Chronicle, Saturday, 2 September 1848) (Also: Berkshire Chronicle, Saturday, 2 September 1848; Berkshire Chronicle, Saturday, 9 September 1848; Berkshire Chronicle, Saturday, 9 September 1848.)

Madlle. Alboni's Concert.-This very attractive Concert which will take place on Monday, will most probably be highly patronised by the neighbouring families. All who have not heard this unrivalled contralto, and have not had an opportunity of attending the Royal Italian Opera this season, should not neglect the opportunity now presented. On looking over the programme, we find the celebrated "Non piu Mesta," in which Madlle. Alboni far outshines any other singer, past or present, as avowed with exultation by the gran maestro, Rossini himself, who composed it, and who was Alboni's instructor. She will also sing her famous "In questo semplice," from the opera of Betley, in which she was encored no less than five times, on the closing night. This celebrated vocalist will not visit this country next year. Of the other performers fame speaks highly; Miss Barrett and Mr. Weiss are great favourites at the concerts in the metropolis, and Mr. Carte's flute is a treat of the highest order; the accompaniments of Mr. L. Sloper are also too well known to require eulogium. (Reading Mercury, Saturday, 9 September 1848)

Concert. -The morning concert announced to be given by Mdlle. Alboni, took place at the Town Hall, on Monday last. We were led to anticipate from the great celebrity of this singer and the other artistes who accompanied her, that the attendance would have been overflowing, but from some circumstance which we are unable to explain, there were not more than 130 persons present. Our limited space will not allow us to give such a description of this brilliant entertainment as it deserves, suffice it therefore to say that the excellent singing of Mdlle. Alboni produced an astonishing effect upon the company; the performances of Mr. Lindsay Sloper on the piano-forte, and Mr. Carte on the Boehm flute, showed an amount of artistic skill which the provinces are but seldom favoured with. Miss Barrett and Mr. Weiss admirably acquitted themselves in the duets and trios. (Reading Mercury, Saturday, 16 September 1848)

Saturday, 16 September 1848 : Mademoiselle Alboni's Grand Morning Concert at Royal Music Hall, Leamington.

MADEMOISELLE Alboni's Morning Concert.-We rejoice to find that Mademoiselle Alboni, who reception this week at the Worcester Musical Festival has been so enthusiastic, and of whose brilliant success such flattering accounts have appeared in the notice taken of each day's performance by the London press, will give a grand concert on Saturday morning next in the Music Hall, which will, doubtless attract a very crowded audience. The songs we find in the programme are admirably adapted to develope the charm of her incomparable voice ; the slow movement in "Nacqui all' affano," and the florid and dazzling divisions in the "Non piu mesta," always excite the utmost gratification. Every one knows that the rich tones of Alboni together with the ease and charm of her vocalization, have rarely been approached by any artiste. Mademoiselle will be supported by Mr. and Mrs. Weiss, well known in the musical world as accomplished singers and the concert will have the powerful aid of Mr. Lindsey Sloper a pianist of great celebrity. (Leamington Spa Courier, Saturday, 9 September 1848) (Also: Leamington Spa Courier, Saturday, 16 September 1848.)

ROYAL MUSIC HALL, LEAMINGTON. MADEMOISELLE ALBONI'S GRAND MORNING CONCERT. SATURDAY, SEPTEMBER, 16, 1848. VOCALISTS. MADEMOISELLE ALBONI, MRS. WEISS, MR. WEISS, INSTRUMENTALIST, MR. LINDSEY SLOPER, SOLO PIANIST. The Programme will consist of Favorite Selection from the popular works of ROSSINI, DONIZETTI, MARTINI, PACCINI, SCHULHOFF BALFE, THALBERG, AND MENDELSSOHN. The Concert will commence at Two o'Clock. Single Tickets 8s. 6d. each; Family Tickets to admit Four. 21s. each; may be had at the Music Shops of Mr. Owen, Mr. Elston and Mr. M'Carroll, in the Lower Parade; at Mr. Hewett's and Mr. Reeve's Subscription Libraries and Reading Rooms, Upper Parade, and at Mr. Enoch's, Bath Street. Reserved Seats 6s. each; to be secured only by application at Enoch's Library, opposite the Rooms, where a Plan lies for inspection. (Leamington Spa Courier, Saturday, 9 September 1848)

… will give grand Royal Music Hall, which will, doubtless attract a very crowded audience. The songs we find in the programme are admirably adapted to the charm of her incomparable voice ; the slow movement all' affano, and the florid mi divwons in the piu mesta, always excite the utmost grauhcatwu. Every one knows that the rich tones of Alboni together the ease and charm of her vocalization, have rarely been approached by any artiste. Mademoiselle will supported hy Mr. and Mrs. Weiss, well known in the musical world as accomplished singers … the concert will have the powerful aid of Mr. Lindsey Sloper, a pianist of great celebrity. (Leamington Spa Courier, Saturday, 9 September 1848)

Mdlle. Alboni.-The musical hemisphere at the present moment contains three stars, whose brilliancy far outshines any that have appeared in the realm of song since the days of poor Malibran. Jenny Lind, Grisi, and Alboni. Unapproachable by any of the lesser lights they stand, in the same sphere, alone; and only differing from each other in their glory. The dramatic fire of Grisi-the natural pathos and purity of Jenny Lind, and the wonderfully magnificent organ of Alboni, have each their admirers. Public opinion has long been divided on the subject of what constitutes the true test of vocal excellence -the fact is that all are right, and that all these singers are great in their respective characters ; for, although the peculiarities of genius must ever cause one artist to differ considerably from another, true genius will surmount every conventionalism, and the only test of it must be its own excellence, and the direct influence that it exercises on our senses and our imaginations. One of the triumvirate of the vocal throne- Alboni-will appear before a Leamington audience this morning, at a concert to be held in the Royal Music Hall. We cannot suppose our fashionable readers indifferent to, or unacquainted with, the abilities of this artiste. Her triumphs at the Royal Italian Opera during the season just concluded, and her subsequent success at the Norwich Musical Festival, would be sufficient to ensure her a reception here, apart from her high continental reputation, and the still increasing power of her genius. The leading Metropolitan Journal in speaking of the Norwich Festival, observes : -" Mademoiselle Alboni sang the beautiful air ' O salutaris Hostea' with exquisite purity of style;" and again, "the psalm of Marcello, 'I cieli immensi' so finely that His Royal Highness the Duke of Cambridge signified a desire for its repetition, which was of course complied with." Madame Alboni comes accompanied by M. and Madame Weiss-of whom we have heard much by report -and, in fact, the talent that is considered sufficient to support the celebrated prima donna must be, of itself, of no inconsiderable standing. To Mr. Lindsay Sloper, who is the pianist of the company, the musical critics of the day have assigned a very high position. The programme contains a selection from the most choice pieces of the Royal Italian Opera season,-among which will be found some of the choicest morceaux of Rossini, Donizetti, Martini, Paccini, Schulhoff, Balfe. Thalberg, and Mendelssohn. (Leamington Spa Courier, Saturday, 16 September 1848)

Thursday, 21 September 1848 : Mr. Woodward's Evening Concert at Assembly Rooms, Cheltenham.

MADLLE. ALBONI. ASSEMBLY ROOMS, CHELTENHAM. MR WOODWARD respectfully acquaints the Nobility, Gentry, and the Public, that an EVENING CONCERT Will take place at the above Rooms, on THURSDAY, September 21st, sustained by the following eminent Artistes: MADLLE. ALBONI, MRS. WEISS, MR. WEISS, SIGNOR SCHEPENS, and MR. LINDSEY SLOPER. Doors will be opened at Seven, and the Concert to commence at Eight o'clock. Tickets 7s 6d. each; Family Tickets, to admit Four, 26s.; Gallery Tickets, 4s.; to be had at Mr. Woodward's Music Warehouse, 14, Promenade, East, adjoining the Literary Institution; Mr. Davies, Montpellier Library, 1, Montpellier Street; and the Assembly Rooms. Reserved Seats 10s., to be had at the Assembly Rooms only, where a Plan may be seen. It is respectfully intimated that no places can be kept except those for which Reserved Tickets have been purchased. (Cheltenham Looker-On, Saturday, 9 September 1848) (Also: Cheltenham Looker-On, Saturday, 16 September 1848.)

Mr. Woodward's Evening Concert, next Thursday, will be Precursor entertainment of the Season; for we may no longer talk of a Season as "beginning in May and ending in October:" and if we receive it as the harbinger of that which may follow, as we approach the more festive period of the year, Cheltenham will have reason to congratulate itself on the tone and quality of its public amusements, and to Mr. Woodward for setting so liberal an example as he has done to those who come after him, by the engagement of Madlle. Alboni for his first Concert; and in selecting, as her companions for the occasion such qualified artistes as Mr. and Mrs. Weiss, Miss Kennedy, who, though new to Cheltenham, is not unknown to fame, and Mr. Lindsey Sloper. We hear also a favourable report of Signor Schepens, another vocalist announced. (Cheltenham Looker-On, Saturday, 16 September 1848)

MADAME ALBONI. ASSEMBLY ROOMS, CHELTENHAM MR. WOODWARD respectfully acquaints the Nobility, Gentry, and the Public, that an EVENING CONCERT Will take place the above ROOMS, on THURSDAY, SEPTEMBER 21st, 1848, sustained by the following eminent Artistes: - MADLLE. ALBONI, MRS. WEISS, MR. WEISS, SIGNOR SCHEPENS, MR. LINDSEY SLOPER. Doors will be opened seven, and the Concert to commence at eight o'clock. Tickets, 7s. 6d. each; Family Tickets, to Four, 26s.;, Gallery Tickets, 4s.; to be had at Mr. Woodward's Music Warehouse, 14, Promenade, East, adjoining the Literary Institution ; Mr. Davies's, Montpellier Library, 1, Montpellier Street; and the Assembly Rooms. (Gloucester Journal, Saturday, 16 September 1848)

MR. WOODWARD'S EVENING CONCERT. On next at the Assembly Rooms, is anticipated to be a brilliant affair. Among the artistes engaged are Mr. and Mrs. Weiss, Miss Kennedy, Signor Schepens, and Mr. Lindsey Sloper - an array of talent which is a sufficient guarantee for the good quality of the entertainment. (Cheltenham Journal and Gloucestershire Fashionable Weekly Gazette, Monday, 18 September 1848)

Mr. Woodward' Concert on Thursday evening was most numerously and fashionably attended. The calculation that the loadstar of the Italian Opera would prove a magnet of highly attractive power in Cheltenham was justified by the result, a result which will encourage our concert speculators to procure the aid of the most talented artistes when they desire to make themselves secure in a financial point of view. Madlle. Alboni appeared no less than six times before the audience, singing three of her most admired songs, and taking part with Mr. and Mrs. Weiss in four other compositions, on each occasion delighting all who heard her. In Donizetti's In questo semplice her beautiful voice and marvellous execution quite electrified the audience, and drew forth a most enthusiastic encore; but instead of repeating this song she substituted Un segreto, the most celebrated of all her performances in the Opera of Lucrezia Borgia; and it was with some difficulty that the desire for a repetition of this was restrained. Mr. and Mrs. Weiss sung also several times, and always with effect; but the selection assigned them wanted life and vivacity, and communicated a feeling of flatness to the Concert. A Signor Schepens sung Largo al Factotum, and another comic Italian song; but our recollections of Lablache and Ambrogetti in the self-same pieces, or some other cause, made it difficult for us to tolerate his feeble and unimpressive efforts. Miss Kennedy performed a Fantasia on the Harp in each act. The first was a failure, owing altogether to the condition of the instrument at the time : for though evidently a new one, its strings were out of tune : this necessarily disconcerted a young lady not much accustomed to appearances in public, and completely marred the effect of her performance; fortunately the fault was corrected previous to the second Fantasia, which was performed by Miss Kennedy in a very finished and beautiful style, evincing perfect [?] instrument and a chastened brilliancy of execution rarely [?], or indeed attainable, by those who adopt the Harp as their instrument. Mr. Lindsey Sloper also contributed a Pianoforte Fantasia and accompanied all the songs. (Cheltenham Looker-On, Saturday, 23 September 1848)

ALBONI AT CHELTENHAM. We received late last night our correspondent's letter on the concert which took place at the Assembly Rooms, Cheltenham, on Thursday evening. It came too late for insertion. We shall give an abstract of the contents. The concert was given by Mr. Woodward, who with Alboni, had engaged Mr. and Mrs. Weiss, Miss Kennedy, (harp,) Signor Schepens, and Mr. Lindsay Sloper, (pianist.) The programme was nearly identical with that provided by the Alboni party at Bristol, Brighton, Manchester, and other places. Alboni created a most tremendous excitement. She was encored in every thing, and, according to our correspondent, " sang divinely." Mrs. Weiss is most favourably mentioned. She obtained the compliment of an encore in Rossini's "La Pastorella," Of the other performers our correspondent takes no notice, with the exception of Mr. Lindsay Sloper, who is highly complimented for his performances, and who, he says, created a great sensation. The lateness of the hour at which the letter was received must be an apology for not speaking at great length: (The Musical world, Saturday, 23 September 1848)

MUSIC AT CHELTENHAM. (From the Cheltenham Journal.) MR. WOODWARD'S concert, on Thursday evening last, at the Assembly Rooms, proved a truly brilliant affair. The attendance was numerous, for although the place was not crowded to overflow, still it was what is generally called a "full" concert, and was graced by the presence of those standing high in the rank and fashion of Cheltenham. The great attraction was Madlle. Alboni, whose fame, in our opinion, has not at all outrun her abilities, and who by her wonderful skill entranced her hearers. Every composition appeared to be truthfully rendered, and not only so, but adorned with every ornament which the resources of the art can supply. Her enunciation so clear - her intonation faultless - and at the same time the whole is given in such a facile manner, with the entire absence of the slightest symptom of difficulty. Her duo with Mr. Weiss "Dunque io Son," from Il Barbiere, called forth a hearty encore. The Tyrolean Scena "In questo semplice," was listened to with breathless silence, and at its conclusion a repetition was called for, and the fair cantatrice then substituted the favorite Brindisi, from Lucrezia Borgia, in which she introduced a shake of such length, and of such splendid articulation, that the walls of the concert room rang with the plaudits of the company as she retired from the stage. There is one thing connected with this delightful songstress which has not been noticed by either of our cotemporaries of Saturday, but to which we feel bound to refer. The instructor of Alboni was that mighty emperor of the Italian opera, the matchless Rossini. What a treat then for an intelligent and sensible audience to listen to the dramatic effusions of such a mind as his properly interpreted by his favorite pupil. Properly interpreted we repeat; for, alas, very often - too often indeed - has the music of Rossini been so altered by capricious vocalists that the mighty master could not recognize it again. Mrs. Weiss possesses a sweet voice and satisfactorily performed the part allotted to her in the programme. Her husband, Mr. Weiss, has a voice rich in tone and extensive in compass; - his cavatina of "Sentinels" was well received. Signor Schepens, a buffo, is a powerful singer, but his gesticulation is carried to the extreme. Mr. Lindsay Sloper, who presided at the piano-forte, is an admirable musician and possesses considerable talent. Miss Kennedy, who has lately come to reside in Cheltenham, gave two performances on the harp. That in the first part proved somewhat of a failure in consequence of the wretched condition of the instrument. Altogether the entertainment was a rich treat of the lovers of sweet sounds. It is only to be regretted that such attractions are not more frequently presented in Cheltenham. (The Musical world, Saturday, 30 September 1848)

Saturday, 23 September 1848 : Mr. Henry Simms's Grand Morning Concert at Assembly Rooms, Bath.

ASSEMBLY ROOMS, BATH. GREAT MUSICAL ATTRACTION. MR. H. SIMMS has the honour to announce that he has entered into an Engagement for a GRAND MORNING CONCERT, On SATURDAY, Sept 23d, 1848. With the pre-eminent Contralto, MDLLE. ALBONI, Who will sing her most-admired Morceaux from the most popular Italian Operas, and be assisted by the following eminent Artistes : MADAME WEISS, SIGNOR PERUGINI, AND M. WEISS. Pianist - Mr. LINDSAY SLOPER, Who will play Two grand Fantasias, by Mendelssohn and Thalberg. The Concert will commence at Two o'Clock. Tickets, Five Shillings each ; Reserved Seats, 7s. 6d.; to be had only at Mr. H. SIMMS'S, Piano-Forte and Music Establishment, 31, Gay Street ; and at the Assembly Rooms. Programmes will shortly be ready. (Bath Chronicle and Weekly Gazette, Thursday, 14 September 1848) (Also: Bath Chronicle and Weekly Gazette, Thursday, 21 September 1848.)

MUSICAL MEMORANDA…Bath, Sept. 16. - "The fascinating and celebrated Mrs Nisbett," as the play bills have it, together with her sister, Miss Mordaunt, will perform at our theatre three times next week, in some of their popular characters. Alboni, with Mr. and Mrs. Weiss, and Lindsay Sloper, the eminent pianist, will appear at a concert, which Mr. H. Simms will give on Saturday morning, in the Assembly Rooms. (Morning Post, Monday, 18 September 1848)

GRAND CONCERT.-The musical public of Bath and its vicinity are greatly indebted to Mr. Henry Simms for the high gratification which he provided for them at the Assembly Rooms, on Saturday last; when Mlle. Alboni, whose fame had created so much expectation in our city, appeared for the first time in Bath. Many have been the occasions on which general anticipations have been disappointed in regard to artistes whose praises have preceded their provincial visits. In the present case common report, warm as it was in commendation of Mlle. Alboni's powers, came far short of the exquisite reality. We shall not institute a comparison between this admirable singer and Jenny Lind, as we see is the fashion with many of our contemporaries. Each possesses many fine qualities which the other possesses not ; and each is supereminent in her peculiar way. The musical hemisphere will bear the shining of both luminaries without any jarring of the sidereal harmonies. Our present concern is with the star which has last beamed on our part of the world ; and, truly, we should find it hard to speak too enthusiastically in its laudation. Power-softness-sweetness-flexibility-delicacy of modulation-wonderful execution -resources apparently unlimited-all in the highest degree of excellence, and all under the controul of the most consummate science, characterize the voice and exertions of Mlle. Alboni. Her performances, from beginning to end, kept the room on Saturday in one continued state of astonishment and delight. It is a delicate matter to say anything respecting a lady's personal appearance, even in the case of a public performer ; but we must really tread on this ticklish ground for the purpose of giving the due elevation to Mlle. Alboni's vocal triumphs. Mlle., be it observed, owes not a tittle of her celebrity to external graces. She is no sylph, but a substantial, round, Dutch-looking body, of stature short; and it would appear that she takes delight in setting herself off to the worst advantage, for her dress on Saturday was of the most heavy and sombre description, and her hair was arranged in as queer and croppy a manner as can be well conceived. She looked for all the world like a largish schoolboy, made up to perform a female, character in a school-play,- her face be it added, beaming with hearty good humour-which it was quite cheering to look upon. We venture to mention the oddity of Mlle. Alboni's appearance, which. evidently took the room by surprise, in order to give those of our readers who were not present an idea of her superlative genius as a singer, inasmuch as she had not uttered half-a-dozen notes before her exquisitely modulated tones entirely and intensely absorbed the attention of the company, to the exclusion of every other consideration; and the most rapturous-truly rapturous-applause greeted the close of each of her achievements. We say-"the close," because, in contra distinction to the practice on most similar occasions, Mlle. Alboni was listened to with breathless attention while singing; strong as was the temptation to break in with marks of applause, the desire not to lose a single note was stronger; but the storm of approbation when she ceased amply made up for the previous forbearance. In short, her progress through the concert was a perfect triumph. We have never seen an audience more thoroughly delighted. The programme was very well arranged. After a Duo, " Soff riva. nel pianto," pleasingly sung by Mr. and Mrs. Weiss, and an Aria, " Della Vita," in which Signor Perugini was received with approbation, Mr. Lindsay Sloper played a grand fantasia on airs in Masaniello with great taste, force, and brilliancy. He was very warmly applauded. Then followed Rossini's Cavatina and Rondo " Nacqui all affanno," and " Non pui mesta," in which Mlle. Alboni attained at once to the highest admiration of the audience. The other pieces in which she sung were the Duo (with Signor Perugini), "Senza tanti complimenti;" Duo (with Madame Weiss), "Dunque io son;" Scena (Donizetti), "In questo semplice et Tyrolean,"-(most exquisitely performed and enthusiastically applauded.) Duo, " La regatta veneziana," (with Mrs. Weiss) and a Trio (Martini)- with Mr. and Mrs. Weiss-" Vadasi via di qua". We need hardly say that there were various encores. Mrs. Weiss, Mr. Weiss, Sig. Perugini, and Mr. Lindsay Sloper acquitted themselves well in the parts allotted to them; and we believe we may safely say that the concert, as a whole, gave unqualified gratification. The large room was in requisition on the occasion, and it was nearly filled by a fashionable company. (Bath Chronicle and Weekly Gazette, Thursday, 28 September 1848)

Saturday, 23 September 1848 : Madame Alboni's Concert at Victoria Rooms, Bristol.

ALBONI IN BRISTOL. (From our own Correspondent.) This time, my dear sir, I have something better, and more pleasing to write to you, than a reply to the bitter attacks of individuals who fancied their merits or dignity offended by my last letter; and you will imagine with what delight I sit down to pen these lines when I inform you, that ALBONI HAS BEEN HERE. I told you that she was expected in our city, but that the exact time of her arrival was not as then known; well, not two days after I wrote the letter, the glorious name, "Alboni," shone from all the old walls of our city in large blue letters, and from that time till the evening of the concert (Sept. 23rd) I celebrated, as the Germans call it, a continual blue Monday, living only in the future, and seeing nothing but double basses (another Germanism) hanging from an azure sky, although my prosy neighbours, who had no Alboni in their heart, complained of rainy weather and dirty streets; for I had never heard Alboni (shame ! I hear you cry), and my heart beat with the half hoping, half doubting trepidation of an antiquarian to whom suddenly a prospect opens of adding another gem to his collection. Pardon my exuberant language, dear Editor, but I have heard her now, and her heavenly strains are still ringing so vividly in my ear, that a cool, deliberate, account - such as the critics would give - is utterly out of the question. Only what passed within me during the performance - the individual experiences of a memorable night - this only is what you must expect me to relate. Templeton was here the same week, giving his "grand entertainments," at the Princess' Assembly Rooms: I went to hear him on the night before Alboni's concert (according to my usual custom of eating a piece of coarse bread when I expect a gastronomic treat); like many others I was, however, too late ; the rooms were filled, and, to please the clamours of the disappointed multitude, Mr. Templeton was obliged to promise an extra night's performance. This made me cautious, and full an hour before the commencement of the concert, you might have seen me walking to and fro at the entrance of our splendid Victoria Rooms, waiting for the opening of the doors. Having entered, I retired to the hindmost seat of the gallery, and sat down in silent meditation, as every devout son of the Muses does when entering Apollo's temple. I thought of Malibran and Alpine mountains; of Persiani and Italy's sunny plains; of Jenny Lind and Dardekarlia's lonely valleys; of the Musical World and "Progressive Cadences," until a thundering noise awoke me from my dreams. On looking up, I saw that the concert was going to commence, and that Mr. and Mrs. Weiss stood bowing before the public. But I did not hear much of the first bars of their duet, for a glance over the room had shown to me that the latter was not much more than half filled, and I fell again into a musing state, thinking of Templeton's overcrowded rooms, and of the letter of the Brass Band man, stating that there is no town in the world "showing a more decided taste for music of a higher order than Bristol (" Dismissing those painful thoughts with a sigh, I nerved myself. The performers had by this time already far advanced in their "Suffrir nel pianto," and soon brought it to a close, amidst the thundering acclamations of the audience, who evidently were much pleased with the singing of their old acquaintances, and received the following solo of Mr. Weiss ("Le miei prodi") with equal favor. Both singers have certainly much improved : Mr. Weiss' bass in particular was more full and definite than when I heard him last, and Mrs. Weiss evinced that she had successfully applied herself to the higher study of her art, although I would advise her to aim less at effects, and to abstain from the introduction of embellishments, which only the greatest of the great can make use of without injuring the intended effect of classical compositions. Mr. Lindsay Sloper then attempted to interpret Liszt's grand fantasia on themes from Masaniello, and still further confirmed me in my opinion, that nothing but the gigantic power of Liszt himself is able to do justice to the romantic effusions of his eccentric mind. Mr. Sloper is a very neat player, of sound taste and great manual dexterity; the quickest passages roll off under his hands clear and distinct ; but Liszt requires more. And now the star of the evening was to make its appearance. The audience looked at the platform with silent expectation, which on a sudden changed into a deafening noise of acclamation, when Alboni stepped forward, with smiling countenance, and the unassuming bearing of a little child. She was not dressed to advantage-a black shawl, leaving nothing but part of her arms exposed : but then the face those eyes beaming with innocent delight ! it was enough to look at them, to be convinced that an angel was dwelling inside. A minute afterwards the room was silent as a grave, without, however, the mournful character of the latter. Mr. Sloper touched a few chords, and then the words "Nacqui all affanno," sounded through the room, clear and distinct, as if spoken. You must not expect me to criticise the singing, if such may be called the breathing of a cherub upon an &Aelig;olian harp ; the first four notes convinced me that you had been but too just in your praises, and that there is but one Alboni. As the sweet notes floated along on the waves of sound, not sung forth with any effort, but running from her lips in pearly shape, like crystal dewdrops glittering in the golden rays of a morning sun-a sweet perfume seemed to spread over the room. The heads of the audience below disappeared under a magic mist, and reality lost itself in the dreams of childhood. Such a voice, so full and golden in its lower notes, so silvery clear in its higher register, so equal throughout, so powerful and yet so mellow-the direct breaking of a living soul which touches every fibre of a kindred heart-such a voice I never heard but once before, and that was long ago; when, then a mere boy, I had entered for the first time a Roman Catholic church. It was a single voice, accompanied only by a quartetto of stringed instruments, which sang a vesper hymn, and so enchanted me, that I forgot to rise from my knees until the chastising hand of my father told me that this was not a proper place of worship for the son of a zealous Protestant. But the voice of the invisible Nun I never have forgotten, it followed me through the dreams of youth, and often have I asked with silent longing, "When shall I hear it again " I have heard it now, and that too not in its mere natural beauty and sweetness, but assisted by the greatest artistic perfection imaginable. The unknown singer was standing before me, the youthful freshness of her organ was the same, the same tenderness breathed through her strains; but all what a long study, unremitting exercise, and deep insight into the spirit of the art of sound could contribute, was now called into aid, and the plain hymn had changed into a brilliant production of consummate art. How the notes chased each other up and down in rapid flight, in those wonderful variations on "Non piu mesta" like frolicking sylphs dancing on sunbeams; how the enchanting singer indulged in the most exuberant playfulness of youth, ventured the most dangerous leaps with unerring certainty, and without once offending against the chastity of her art; how she cast in one breath an endless chain of trilles, now tumbling through the air like the whispering of a zephyr, now rolling with the power of an organ, and finally, dying away gradually, that you did not know when the last note ended; all this must be heard, but can be neither described nor imagined. No wonder that the audience was in rapture, that the clapping of hands and encore cry would take no end, and that the repetition of the rondo tenfold increased the enthusiasm. From this time the concert was a succession of triumphs of which the other singers also (Mrs. Weiss, Mr. Weiss, and Signor Perugini) had their full share ; for the superiority of Alboni was so palpable, and the distance between her and Mrs. Weiss so great, that no one thought of making a comparison : and besides, the charming singer had kindled such a feeling of love and kindness in the heart of her audience, that the latter would have received favorably anything the other performers might have offered. I have no time to enter into the detail of the performance, suffice it, therefore, to say, that Mr. Weiss sang two solos, (Mendelssohn's "Tarry here my servant" and the piece mentioned before,) and joined in two duo's, "Dunque io son'' with Alboni; that Signor Perugini set the house in a roar of laughter by his "Tarantella' and the truly excellent interpretation of his part in "Senza tanti complimenti," with Alboni; that Mrs. Weiss tried her powers on Rossini's "Pastorella" in which her mezzo voice singing was very creditable, and that Mr. Sloper played two "Lieder ohne Worte" with exquisite taste, but without receiving due applause. Alboni brought out in the second part of the concert her "In questo semplice," entranced again the audience, and completely electrified it, when, instead of a repetition, she burst out into the merry strains of the bacchanalian song, "Il segreto per esser felice," from Lucrezia Borgia. The concert, concluded with Martini's comic trio, "Vadasi via di qua," (Alboni, Mrs. and Mr. Weiss) which sent the audience home, with satisfaction in their hearts and joy in their faces. I left the room in a state of extacy. "What do you think of her ?" asked a gentlemen. "She is a glorious girl!" I could only answer; but if now a person ask me, "What is the Segreto per esser felice?" I should say, "Hear Alboni sing." -Your enthusiastic correspondent, TEUTONIUS. (The Musical world, Saturday, 30 September 1848)

Monday, 25 September 1848 : Mr. Lavenu's Monster Concert at Exeter Hall.

EXETER HALL. A grand concert was given last night for the benefit of Lavenu, the composer of the opera of Loretta. The hall was crowded in every part, and this being the last appearance of Mdlle. Alboni in England, the excitement was quite extraordinary. The appearance of the great contralto in the orchestra was hailed with vehement applause, that lasted many minutes. Alboni was in charming voice, and sang freshly and richly as ever. The "Nacqui all'affana" and the "Non Piu mesta," "In questo semplice," and "II segreto per esser felice," elicited encores and were rapturously applauded. Indeed, though losing somewhat of their effect from the absence of scenic appliances, the same furor existed as when they were first heard on the stage of the Royal Italian Opera. The concert opened with a new overture written by Mr. Lavenu. It is well constructed, the subjects are flowing and agreeable, and the instrumentation exceedingly brilliant. It was played with great spirit and applomb by an orchestra composed of the principal instrumentalists of the Philharmonic band. Miss Kate Loder performed a concerto of Mendelssohn's with unexceptionable features, though with a lack of expression. The works of Mendelssohn are musical poems, of which every phase of the feeling with which they are instinct should be wrought out with reverence, and with at least a kindred spirit. Miss Loder is an admirable pianiste-her execution is almost [?] and her touch crisp and elastic; but there is a certain coldness, which tends to mar her otherwise great excellencies. The Misses Williams sang some of their popular duets, with their accustomed success. Mr. and Weiss, Mr. Machin, Miss Miran, Miss Emma Lucombe, Miss Durlacher, and Miss Poole, sang a number of sons and duets, familiar to almost every concert visitor. Miss Poole introduced a ballad, composed by Mr. F. Romer, "They bid me never see him more," of little worth musically or poetically; but the charming voice and pure style of the songstress won for it a redemand, which its intrinsic merits would have failed to achieve. Balfe's pretty song, "The merry Zingara," sung by Miss Durlacher, received a similar honour. This young and pretty vocalist will shortly become one of our most popular favourites. She has a soprano voice, of fine quality, and her style is excellent. The overtures to Oberon and Guillaume Tell were splendidly executed. The third movement of the latter was enthusiastically called for a second time. The leader was Mr. Blagrove, and the conductors Mr. Lindsay Sloper and Mr. Lavenu. (Morning Post, Tuesday, 26 September 1848)

EXETER HALL. This immense room was well filled last night - the occasion being Mr. Lavenu's long-announced concert. The vocalists consisted chiefly of English artists, supported by a star of no mean attraction - namely, Alboni, who had never before, we believe, sung in this place. In the first part she gave the famous " Non piu mesta," and joined in a duet with Miss Durlacher- in the second her exhilarating "In questo semplice," and the drinking song from the Lucrezia Borgia. We need only speak in general terms of these incidents for they were received with the violence of delight which it is now the common practice of this admirable contralto to provoke. The encores of the evening scarcely admit of enumeration, but Alboni, it may easily be guessed, was not spared ; nor was Miss Poole, whose silvery voice, and pure musician-like style, were facts for admiration in F. Romer's pretty ballad, " They bid me never see him more," and in a song by Mr. Lavenu. The Misses Williams were loudly and vehemently encored in Holmes' duet, "The Swiss Maidens"- one of those artless bagatelles which these young ladies deliver with such graceful and winning effect. Miss Miran gave a smooth, though unimpassioned, reading of Gluck's exquisite ' Che faro," and Miss Emma Lucombe tried her flexibilities of voice in the once famous scena, "I tuoi frequenti palpiti" - scarcely, we must add, with success. Mr. and Mrs. Weiss and Mr. Machin were likewise among the vocalists. Miss Durlacher, a promising pupil of Balfe, sang, with Alboni, Rossini's "La Regatta Veneziana," with a skill that exhibited itself more distinctly as her confidence strengthened ; and in the song with which she was especially provided in the second part there was a liberal call for repetition. This young vocalist possesses a sweet and resonant organ, and there are abundant signs that with the necessary discipline she will become prominent. The singing was relieved by Miss Kate Loder, who played the last two movements of Mendelssohn's first concerto with her usual dexterity and feeling, though the pianoforte is not an instrument that bears exhibition in a room of this magnitude. Mr. Lavenu provided a tolerable orchestra, and the execution of the several overtures which were scattered through-out the programme was vigorous and sparkling. The accompanying of the vocal pieces was, however, coarse and uncertain, and Alboni and Kate Loder suffered grievous wrong at the hands of their coadjutors. The conductors of the concert were Mr. Lavenu and Mr. Lindsay Sloper. (The Standard, Tuesday, 26 September 1848)

Mr. Lavenu's Concert. -Mr. Lavenu is a composer and violoncello performer, and concert speculator. He generally seizes the opportunity, after the close of the musical season, to get up monster entertainment at such moderate prices as will command the attendance of the non-fashionable portion of the community. If Exeter Hall did not exhibit an overflow last Monday night, it was certainly very well filled considering the period of the year. Alboni was the star, and she sang four times, beginning with the finale from La Cenerentola, the rondo being encored; next singing in a duo, Rossini's Regata Veneziana then in Rossini's coro for treble voices, Carota afterwards in the cavatina from Betly," In questo simplice," encored with enthusiasm ; and finally giving the Lucrezia Borgia drinking song with such irresistible spirit as to secure a double encore, although she only complied with the first call. She was in good voice and spirits, alter a fatiguing round in the provinces, and her reception was rapturous in the extreme. The remainder of the programme was sustained by our native artistes, namely, Mrs. Weiss, the Misses A. and M. Williams, Miss Poole, Miss Lucombe, Miss Durlacher, Miss Miran, Messrs. Weiss and Machin. The most successful efforts were those of Miss Poole, in Mr. F. Komer's plaintive ballad, They bid me never see him more," sung with simple and unaffected feeling, and which was asked for twice; the Misses Williams, in Mr. Holmes's duo, "The Swiss Maidens," also encored; Miss E. Lucombe, in Pacini's I tuoi frequenti palpiti," brilliantly given ; and Miss Durlacher, in Balfe's song, "The merry Zingara," which received an encore. Miss " which received an encore. Miss Durlarcher is a pupil Balfe. She has a voice of extensive compass, and is promising. Miss Miran did not seem in spirits, and her organ has lost somewhat its freshness. Miss Weiss, with a very fine voice, is distressingly uncertain in her intonation, and her style is defective. Kate Loder performed two movements of Mendelssohn's first pianoforte concerto with ardour and intenseness. There was a good orchestra, led by Blagrove, gleaned principally from the Royal Italian Opera, who played the Oberon" and William Tell" overtures with fire and energy, the final movement in the latter being repeated by general desire. Mr. Lavenu's overture, written expressly for the occasion, calls for no remark, for it has left no remembrance of its subjects nor of its treatment. His vocal gleanings from "Loretta" were much more entitled to notice. Mr. Lindsay Sloper and Lavenu conducted alternately ; and the concert terminated at an early hour, albeit there were 28 pieces in the scheme. (Illustrated London News, Saturday, 30 September 1848)

Exeter Hall. - On Monday, Mr. Lavenu gave a monster concert in the large room here, and as his bill of fare was ample and attractive, the audience was exceedingly numerous, completely filling the spacious area, galleries and all. The chief feature of the concert was the first appearance of Mlle. Alboni at Exeter Hall, and her reception was of the most enthusiastic kind. She was in admirable voice, and was vehemently encored in the three solos for which she was put down in the programme; these were the "Non piu mesta," "In questo semplice," from Betly, and the "Brindisi," from Lucrezia Borgia, in all of which she acquitted herself in first-rate style; indeed the scena from Betly was given with the greatest spirit, and was the feature of the evening. Mlle. Alboni also took part in the duet, "La Regatta Veneziana," with Miss Durlacher, and in Rossini's chorus, "La Carita." The first part of the concert went rather heavily in consequence of the selection of pieces being principally from the Italian, and not from the best masters, and all of them being accompanied by full band. After Alboni, the next best in this part was Miss Miran, who gave Gluck's cavatina, "Che faro senza Euridice," from the Orfeo, with much taste, expression, and sweetness; nor ought we to omit to mention Miss Poole's unanimous encore in a pretty ballad by F. Romer, "They bid me never see him more," which she sang charmingly. The second part was more light and varied, and the singers were in many instances accompanied by piano-forte only. In this part, Miss Durlacher gave Bare's "Merry Zingara," with considerable effect ; she has a good voice, but rather strains some of the higher notes. The principal other singers during the evening were Mrs. Weiss, the Misses Williams, and Miss E. Lucombe, and Messrs. Weiss and Machin. Miss Kate Loder was the only solo instrumental performer ; she executed one of Mendelssohn's concertos for the piano-forte with much power and skill, and was loudly applauded. The concert was led and conducted by Messrs. Blagrove, Lavenu, and Sloper, and altogether went off very well. (The Literary gazette : A weekly journal of literature, science, and the fine arts, Saturday, 30 September 1848)

MR. LAVENU'S CONCERT. MR. Lavenu is well known in musical circles as the com poser of the opera of Loretta, as well as many vocal pieces of the ballad school which have obtained popularity. Loretta was exceedingly well-written and highly effective, contained many striking and some beautiful melodies, and was altogether, as the Times said, one of the very best first operas ever produced by a composer in this country. At the period of the production of Loretta we ourselves echoed the opinion of the Times, and bore evidence to Mr. Lavenu's musical abilities and musical feeling. But it does not follow that because Mr. Lavenu wrote one good opera, and scores of ballads, that he should therefore give a concert at Exeter-hall at the heel of the season when every body is out of town:-certainly not. And if any one of our readers be so curious as to desire to know why Mr. Lavenu gave a concert at the dullest time of the year, we beg to refer him from ourselves, who know nothing of the matter, and who can make no guess, to himself, who, perhaps, may be able to gratify any longing felt thereat. But if Mr. Lavenu felt that the time was out of joint when he gave his concert, he knew that, however dull the period might be, one magic name would be enough to call all the vagrant spirits from their out-of-town wanderings, and make them meet together as at the call of the trumpet that calleth the legions, and so Mr. Lavenu engaged Alboni, and put her in his bills, whereupon the sluggish metropolis stirred into life like a somnambulant hippopotamus, and gave tokens of feeling joy within. Exeter-hall, as we have said, was the locale selected by Mr. Lavenu for his evening concert; but why Mr. Lavenu chose Exeter-hall in preference to any other place we have no means of fathoming, no more than we have why he should have given his concert during the dullest period of the season. The following is the programme furnished on Monday evening at Exeter-hall:- PART I. Overture - (Composed expressly for this occasion, - Lavenu. Trio-" Before this heart, my father," Mrs. Weiss, Mr. Machin, and Mr. Weiss (Loretta).- Lavenu. Duetto-"Io l'udia," Miss A. Williams and Miss M. Williams - Donizetti. Cavatina - "Nacqui all' affano" and Rondo "non piu mesta" Madlle. Alboni - Rossini > Cavatina-"Sentinels," Mr. Weiss (Castle of Aymon). - Balfe. Concerto-Pianoforte, Miss Kate Loder . - Mendelssohn. Scena - "I tuoi frequenti palpiti," Miss Emma Lucombe - Pacini. Song-"Philip the Falconer," Mr. Machin - Loder. Duetto-"La regatta Veneziano," Mdlle. Alboni and Miss Durlacher - Rossini. Ballad-"They bid me never see him more," Miss Poole - F. Romer. Coro-" La Carita," Mdlle. Alboni, Miss E. Lucombe, Miss A. Williams, Miss M. Williams, Mrs. Weiss, Miss Durlacher, Miss Poole, and Miss Miran . - Rossini. Overture-(Oberon) - Weber. PART II. Overture-(William Tell) - Rossini. Aria-" La pastorella" (Son bella Pastorella) Mrs. Weiss - Rossini. Duet-"The Swiss Maidens," Miss A. Williams and Miss M. Williams - Holmes. Song-"The merry Zingara," Miss Durlacher - Balfe. Scena -"In questo semplice," from the Opera of Betly, Mdlle. Alboni - Donizetti. Duet-"Soffriva nel pianto," Mrs. and Mr. Weiss - Donizetti. Ballad - They tell me that thy heart is changed," Miss Miran - T. Baker. Duet-"The Sea Elves," Miss A. Williams and Miss M. Williams - Lavenu. Romanza-"Se miei prodi," Mr. Weiss - Pacini. Ballad-"Happy heart," Miss Poole - Lavenu. Brindisi-"Il segreto per esser felice," from the Opera of Lucrezia Borgia, Mdlle. Alboni - Donizetti. Coro-"Il Carnavale" - Rossini. Overture-(Men of Prometheus) - Beethoven. The orchestra was selected from the Royal Italian Opera Band, and a capital orchestra it was. The occasional overture of Mr. Lavenu was excellently played, and was received with much favor. A single hearing does not enable us to form an accurate opinion as to its merits, but it appeared to us to have been written with great care, and to have evinced a competent knowledge of orchestral effects. The trio from Loretta was well sung. It is one of the best concerted pieces in the opera. Donizetti's duo was very nicely given by the fair sisters, and met with great applause. But all hearts were throbbing anxiously, and all eyes were peering earnestly towards the entrance, in expectation of Alboni's coming, No sooner had she appeared than she was greeted with a burst of applause that sounded through the huge hall like "superlative thunder," and was continued without intercession for several minutes. The glorious contralto looked in admirable health. Her opening notes in the "Nacqui all' affanno," assured us that she was in as fine voice as ever, despite the wear and tear of a long season, and the harassing exertions of a long provincial tour. Rossini's charming andante was given with consummate grace and finish by Alboni, and with a certain quietude of expression delightfully in tone with the situation. It was applauded to the echo; but impatience turned all ears to the rondo, which, anticipating Alboni's voice, was humming around. To say that the "Non piu mesta" startled, amazed, and enchanted the audience, and threw them into ecstacies, and made them guilty of sundry extravagancies, would be only to repeat an oft-told tale. Never, in our recollection, did Alboni produce a greater effect; and never did we witness an assembly so rapt into listening. The rondo was encored with tremendous and prolonged cheers, and was repeated with greater effect, if possible, than before. Mr. Weiss sang Balfe's song with capital point. Miss Kate Loder's performance was one of the chief features of the concert. She was received with great applause, and played a merveille. Miss Emma Lucombe gave a favourable impression of her Italian vocalization by her rendering of Pacini's song. Mr. Machin delivered Loder's very happy ballad with a good barytone voice and decided emphasis. The duetto of Rossini was rendered with surprising effect by Alboni and Miss Durlacher. We have rarely heard two voices blend more charmingly together. It was, as though two singing-birds - the linnet and the mavis, to wit - with well-educated voices, were, like Ford's minstrel and nightingale "striving for mastery." It is no small compliment to the youthful soprano that she should have braved the contest against the overwhelming effects produced by Alboni's singing. Miss Durlacher is a pupil of Mr. Balfe, and reflects the highest credit on his teaching. Her voice is a soprano of excellent quality; her style and method are admirable, while she evinces no small amount of musical knowledge. Miss Durlacher is fortunate in having such a teacher. Mr. Balfe, one of the most accomplished vocalists of the day, is also one of the ablest and best instructors of singing. Miss Poole's ballad was given in her usual quiet and chaste style. The overtures to Oberon and William Tell were performed with good effect - the first, the best, to our thinking. The "Pastorella" of Mr. Weiss, and the duet of the Misses Williams, were both entitled to praise. Balfe's "Merry Zingara," was encored, and most deservedly. Miss Durlacher gave it with nice effect, and without an effort. It was a pure specimen of pure vocalisation. Miss Durlacher is the most promising singer we have heard for a long time, and we therefore hold out to her the strong hand of encouragement. Alboni's scena from Betly was of course encored with vehement applause. Of the other performances a few words must suffice. Miss Miran's song and Miss Poole's song were both commendable performances, and Alboni created her never-failing furore in the "Brindisi." The concluding overture wound up the concert admirably. Messrs. Lindsay Sloper, and Lavenu acted as conductors. The hall was crowded in every nook and corner. (The Musical world, Saturday, 30 September 1848)

Monday, 9 October 1848 : Mr. Distin And Sons's Grand Farewell Concert at Theatre Royal, Drury-Lane.

THEATRE ROYAL DRURY-LANE.-(Under the Special Patronage of her Majesty the Queen .and his Royal Highness Prince Albert).-Mr. DISTIN and SONS have the honour to announce a GRAND FAREWELL CONCERT previous to their departure for America, on MONDAY next, October 9 assisted by the following talented artistes --Vocalists, Misses Birch, A. Williams, M. Williams, Bassano, O'Connor, Cubitt, Messent, Lowe, Ransford, Julia Smith, Duval and Miss Ellen Lyon, Mesdames W. H. Seguin, Temple, and Weiss; Messrs. W. Harrison, Allen, Weiss, W. H. Sequin, Bodda, Machin, Sporle, Ransford, and Henry Phillips. Instrumentalists: Sax horns, Distin and Sons; pianoforte, Miss Kate ; Loder, Miss Day, and Mr. Lindsay Sloper ; Flute Mr R S Pratten; concertina, Mr. A. Sedgwick ; harp, Mr. Frederick Chatterton ; Violin, Mr. J. Day. Conductors, Messrs Benedict. Lindsay Sloper, B. Richards .and W. H. Holmes, John Willy. Leader of the Orchestra, Mr. Loder. Doors open at Half-past Six; to commence at Seven o'clock. Stalls, 10s. 6d; Dress Circle, 7s.; Boxes, 5s.; Pit, 3s.: Lower Gallery, 2s. Upper Gallery, 1s. Tickets and Places secured at Distin and Sons' 31 Cranbourne-street, Leicester-square; and at the Box-office; and the principal musicsellers. (Morning Chronicle (1801), Monday, 25 September 1848) (Also: Morning Advertiser, Monday, 25 September 1848.)

THEATRE ROYAL, DRURY-LANE. Under the Special Patronage of Her Majesty the Queen, and His Royal Highness Prince Albert. Mr. DISTIN and his SONS beg to announce that they will give a farewell CONCERT, previous to their departure for America, on MONDAY, OCTOBER the 9th, 1849, assisted by the following artistes :-Vocalists, the Misses Birch, A. Williams, I. Williams, Bassano, Ransford, O'Connor, Duval, Julia Smith, Messent, Cubitt, Ellen Lyon and Lowe; Mesdames, W. H. Seguin, Temple, and Mrs. Weiss; Messrs. W. Harrison, Allen, Weiss, W. H. Seguin, Frank Bodda, Machin, Sporle, Ransford, and Henry Phillips. Instrumentalists - Sax Horns, Mr. Distin and his Sons. Pianoforte - Miss Kate Loder, Miss Day; Messrs. Benedict, Lindsay, Sloper, B. Richards, and W. H. Holmes. Siccama's patent Diatonic Flute - Mr. R. S. Pratten. Concertina - Mr. A. Sedgwick. Harp - Mr. F. Chatterton. Violin - Mr. J. Day. Conductors - Messrs. Benedict and Lindsay Sloper. The Orchestra will be numerous and complete in every department. Leader - Mr. Loder. Doors open at Half-past Six, commence at Seven o'Clock. Private Boxes, two and three guineas; Stalls, 10s. 6d.; Dress Circle, 7s.; Boxes, 5s.; Pit, 3s ; Lower Gallery, 2s.; Private Boxes, Tickets, and Places, to be had at Distin and Sons' Music Warehouse, 31, Cranbourn-street. Leicester-square, and at the Box-office of the Theatre, on Monday, October 2nd, and every day during the week. (The Satirist; or Censor of the Times, Saturday, 30 September 1848)

THEATRE ROYAL DRURY-LANE.-(Under the Special Patronage of her Majesty the Queen and his Royal Highness Prince Albert).-Mr. DISTIN and SONS have the honour to announce a GRAND FAREWELL CONCERT previous to their departure for America, on MONDAY next, October 9 assisted by the following talented artistes --Vocalists, Misses Birch, A. Williams, M. Williams, Bassano : Mesdames W H Seguin, Temple, and Weiss; Messrs. W. Harrison, Allen, Weiss, W. H. Sequin, Bodda, Machin, Sporle, Ransford, and Henry Phillips. Instrumentalists: Sax horns, Distin and Sons; pianoforte, Miss Kate ; Loder, Miss Day, and Mr. Lindsay Sloper ; Flute Mr R S Pratten; concertina, Mr. A. Sedgwick ; harp, Mr. F. Chatterton ; Violin, Mr. J. Day. Conductors, Messrs Benedict. Lindsay Sloper, B. Richards .and W. H. Holmes, Leader of the Orchestra, Mr. Loder. Doors open at Half-past Six; to commence at Seven o'clock. Stalls, 10s. 6d; Dress Circle, 7s.; Boxes, 5s.; Pit, 3s.: Lower Gallery, 2s. Upper Gallery, 1s. Tickets and Places secured at Distin and Sons' 31 Cranbourne-street, Leicester-square; and at the Box-office of the Theatre. (The Times, Saturday, 30 September 1848) (Also: Morning Chronicle (1801), Thursday, 5 October 1848; Morning Post, Friday, 6 October 1848; Morning Chronicle (1801), Saturday, 7 October 1848; The Times, Friday, 6 October 1848; Morning Advertiser, Friday, 6 October 1848; Morning Advertiser, Thursday, 5 October 1848; Morning Post, Thursday, 5 October 1848; Morning Advertiser, Wednesday, 4 October 1848; Morning Post, Wednesday, 4 October 1848; Morning Post, Tuesday, 3 October 1848; Morning Advertiser, Tuesday, 3 October 1848; Morning Chronicle (1801), Tuesday, 3 October 1848; Morning Post, Monday, 2 October 1848; Morning Chronicle (1801), Thursday, 5 October 1848; Morning Advertiser, Monday, 2 October 1848.)

THEATRE ROYAL, DRURY LANE, under the Special Patronage of Her Majesty the Queen and H. R. H. Prince Albert. Mr. DISTIN and SONS beg to announce their intention of giving a Grand FAREWELL CONCERT on MONDAY, October 9th, 1948, assisted by the following Birch, Miss Bassano, Misses Williams, Ransford, O'Connor, Messent; Mesdames Temple, Seguin, and Weiss; Harrison, Allen, Weiss, Machin, Bodda, Seguin, Sporle, Ransford, and H. Phillips. Horns, Mr. Distin and Sons; Pianoforte, Miss Kate Loder, Miss Day, Mr. Lindsay Sloper, and Mr. Benedict; Flute, Mr. R. S. Pratten; Concertina. Mr. A. Sedgwick Violin Mr. Day; Harp, Mr. Chatterton. Conductors, M. Benedict, B. Richards, and Mr. H. Holmes. Leader, Mr. Loder. Doors open at Half-past Six; commence at Seven. Private Boxes, £2 2s. and £3 3s., Stalls, 10s. 6d.; Dress Circle, 7s., Boxes, 5s. ; Pit, 3s.; Gallery, 2s. Upper Gallery, 1s. Private Boxes, Tickets and Places, to be had at Distin's Warehouse, 31, Cranbourne Street. Leicester Square, and at the Box Office. (The Literary gazette : A weekly journal of literature, science, and the fine arts, Saturday, 30 September 1848)

THEATRE ROYAL, DRURY-LANE. Under the Special Patronage of Her Majesty the Queen, and His Royal Highness Prince Albert. Mr. DISTIN and his SONS bog to announce that they will give a farewell CONCERT, previous to their departure for America, on MONDAY, OCTOBER the 9th, 1849, assisted by the following artistes :-Vocalists, the Misses Birch, A. Williams, I. Williams, Bassano, Ransford, O'Connor, Duval, Julia Smith, Messent, Cubitt, Ellen Lyon and Lowe; Mesdames, W. H. Seguin, Temple, and Mrs. Weiss; Messrs. W. Harrison, Allen, Weiss, W. H. Seguin, Frank Bodda, Machin, Sporle, Ransford, and Henry Phillips. Instrumentalists - Sax Horns, Mr. Distin and his Sons. Pianoforte - Miss Kate Loder, Miss Day; Messrs. Benedict, Lindsay, Sloper, B. Richards, and W. H. Holmes. Siccama's patent Diatonic Flute - Mr. R. S. Pratten. Concertina - Mr. A. Sedgwick. Harp - Mr. F. Chatterton. Violin - Mr. J. Day. Conductors - Messrs. Benedict and Lindsay Sloper. The Orchestra will be numerous and complete in every department. Leader - Mr. Loder. Doors open at Half-past Six, commence at Seven o'Clock. Private Boxes, two and three guineas; Stalls, 10s. 6d.; Dress Circle, 7s.; Boxes, 5s.; Pit, 3s ; Lower Gallery, 2s.; Private Boxes, Tickets, and Places, to be had at Distin and Sons' Music Warehouse, 31, Cranbourn-street. Leicester-square, and at the Box-office of the Theatre, on Monday, October 2nd, and every day during the week. (The Satirist; or Censor of the Times, Saturday, 7 October 1848) (Also: The Times, Saturday, 7 October 1848.)

Theatre Royal, Drury-lane.- Under the Speciall Patronage of her Majesty the QUEEN and his Royal Highness PRINCE ALBERT.-M. DISTIN and SONS beg to announce that they will give a Grand FAREWELL CONCERT on MONDAY, October 9th, assisted by the following talent; -Vocalists: the Misses Birch, A. and M. Williams, Bassano, M. O'Connor, Hansford, Messent, Lowe, Mesdames Seguin, Temple and M. Weiss, Messrs. Harrison, Allen, Phillips, Farren, Weiss, Ransford, Sporle, and Mr. Machin. Instrumentalists:-Pianoforte, Miss Kate Loder, Miss Day, Mr. Lindsay Sloper; Flute, Mr. R. Pratten; Concertina, Mr. Sedgwick; Harp, Mr. Chatterton; Violin, Mr. J. Day; Sax Horns, Mr. Distin and Sons. Conductors, M. Benedict, L. Sloper, J. Willy, and W. H. Holmes. Leader. Mr. Loder. - Private Boxes, two and three guineas; Stalls. 10s. 6d.; Dress Circle, 7s 75.; Boxes, 5s.; Pit, 3s ; Gallery, 25.; Upper Gallery, 1s. To be had at Distin and Sons', 31 Cranbourne-street, Leicester-square; and at the Box-office of the Theatre. (Illustrated London News, Saturday, 7 October 1848) (Also: Illustrated London News, Saturday, 7 October 1848.)

THEATRE ROYAL DRURY LANE. UNDER THE ESPECIAL PATRONAGE OF HER MAJESTY THE QUEEN AND His Royal Highness PRINCE ALBERT Mr. DISTIN and his SONS Beg to announce, that they will give a FAREWELL CONCERT (Previous to their Departure for America) on MONDAY, OCTOBER 9, 1848, Assisted by the following artistes:- Vocalists-The Misses BIRCH, A, and M. WILLIAMS, BASSANO, RANSFORD, O'CONNOR, DUVAL, JULIA SMITH, MESSENT, CUBIT, ELLEN LYON, and LOWE.; Mesdames W. H. SEGUIN, TEMPLE, and Mrs. WEISS; Messrs. W. HARRISON, ALLEN, WEISS, W. H. SEGUIN, FRANK BODDA, MACHIN. SPORLE, RANSFORD, and HENRY PHILLIPS. Instrumentalists: -Sax Horns, Mr. DISTIN, and his SONS: Pianoforte, Miss KATE LODER, Miss DAY, Messrs. BENEDICT, LINDSAY SLOPER, B. RICHARDS, and W. H. HOLMES ; Siccama's Patent Diatonic Flute, Mr. R. S. PRATTEN; Concertina, Mr. A. SEDGWICK; Harp, Mr. F. CHATTERTON; Violin, Mr. J. DAY. - Conductors. Messrs. BENEDICT and I. WILLY. The Orchestra will be numerous and complete in every department. Leader: MR. LODER. - Doors open at half-past Six - commence at Seven o'clock. Private boxes, Two and Three Guineas; Stalls, 10s. 6d.; Dress, Circle, 7s.; Boxes, 5s. ; Pit, 3s. ; Lower Gallery, 2s. ; Upper Gallery, 1s.-Private Boxes, Tickets and Places to be had at DISTIN and SONS' Music Warehouse, 31, Cranbourn Street, Leicester Square; and at the Box Office of the Theatre, on Monday, October 2, and every day during the week. (The Musical World, Saturday, 7 October 1848)

THEATRE ROYAL DRURY-LANE.-(Under the Special Patronage of her Majesty the Queen and his Royal Highness Prince Albert).-Mr. DISTIN and SONS have the honour to announce a GRAND FAREWELL CONCERT previous to their departure for America, THIS EVENING, assisted by the following talented artistes --Vocalists, Misses Birch, A. Williams, M. Williams, Bassano : Mesdames W. H. Seguin, Temple, and Weiss; Messrs. W. Harrison, Allen, Weiss, W. H. Sequin, Bodda, Machin, Sporle, Ransford, and Henry Phillips. Instrumentalists: Sax horns, Distin and Sons; pianoforte, Miss Kate ; Loder, Miss Day, and Mr. Lindsay Sloper ; Flute Mr R S Pratten; concertina, Mr. A. Sedgwick ; harp, Mr. F. Chatterton ; Violin, Mr. J. Day. Conductors, Messrs Benedict. Lindsay Sloper, B. Richards .and W. H. Holmes, Leader of the Orchestra, Mr. Loder. Doors open at Half-past Six; to commence at Seven o'clock. Stalls, 10s. 6d; Dress Circle, 7s.; Boxes, 5s.; Pit, 3s.: Lower Gallery, 2s. Upper Gallery, 1s. Tickets and Places secured at Distin and Sons' 31 Cranbourne-street, Leicester-square; and at the Box-office of the Theatre. (Morning Chronicle (1801), Monday, 9 October 1848) (Also: Daily News, Monday, 9 October 1848; Morning Post, Monday, 9 October 1848; Morning Advertiser, Monday, 9 October 1848; The Times, Monday, 9 October 1848.)

MESSRS. DISTIN'S CONCERT. Mr. Distin and Sons gave a farewell concert last night, previously to their departure for America, at Drury-lane Theatre. The programme was a "bumper" one, divided into three parts, and comprising nearly forty pieces of music, vocal and instrumental. Of course it would be impossible to enter into a detailed notice of so extensive a performance, which was not over till after midnight. We are happy to be able to state that at the period we were present the house was extremely well attended, the pit being quite full, the dress boxes nearly so, and a large proportion of the private boxes being occupied. Messrs. DISTIN experienced a very warm reception from their numerous admirers, and we trust will have weighty reasons to be gratified with the manner in which their invitation was responded to. Their wonderful performances on the Sax horns were loudly applauded, particularly the quartet " Soffriva nel pianto," from Lucia di Lammermoor, which was extremely well given. Mr. DISTIN was encored in the " Soldier tired," which he performs upon the trumpet in armchair which cannot well be surpassed ; and Mr. HENRY DISTIN received a similar honour for his performance on the Alto Sax horn of the scena " All is lost," from the Sonnambula. Miss BIRCH sang "II soave e bel contento" with exquisite taste, and was loudly encored in it. The other vocal performances included the exertions of the Misses WILLIAMS, Mr. and Mrs. SEGUIN, Mr. SPORLE Mr. W. FARREN, Miss RANSFORD, and others. Amongst the instrumental performances which appeared to be the most worthy of remark, were a grand quartet for four pianos, by Miss KATE LODER, Mr. LINDSAY SLOPER, Miss DAY, and Mr. W. HOLMES; " La belle Julie," with introduction and valse brillante, composed expressly for this occasion, by Mr. MACFARREN ; a fantasia on the harp, by Mr. CHATTERTON; and a fantasia on SICCAMA's diatonic flute by Mr. SYDNEY PRATTEN, each of which shared largely in the applause of the audience. Between the parts "God save the Queen" was given by the principal vocalists, and the full orchestra, with the addition of solo parts on the Sax horns by Mr. DISTIN and his sons-the last-named of which were peculiarly effective. Mr. THIRLWALL led the orchestra ; the conductors were Mr. LINDSAY SLOPER, Mr. J. WILLEY, and Mr. W. H. HOLMES. (Morning Chronicle (1801), Tuesday, 10 October 1848)

DRURY LANE THEATRE. - The farewell concert of the Distin family took place last Monday night at this theatre. Every part of the house was extremely well attended. The programme, which was of some considerable length, included many of our principal London singers. Messrs. Distins received a very warm reception from their numerous admirers; their astounding performances on the Sax-horns were well applauded. Mr. Distin was encored in the "Soldier Tired," which he performed in a manner not easily surpassed. Miss Birch sang "II soave e bel contento," with lovely taste, and was loudly encored in it. b Mr. Henry Distin was encored for his performance on the Alto Sax-horn of the scena "All is lost," from Sonnambula. The Misses Williams sang their duet "Swiss Maidens" in a most charming manner. The other vocal performances included Mrs. Seguin, Misses Ransford, O'Connor, Smith, Lowe, Messrs. Bodda, Farren, Sporle, and other ladies and gentlemen. Amongst the instrumental performances worthy of remark were a grand quartet, "La belle Julie," on two pianos by C Miss Kate Loder, Mr. Lindsay Sloper, Miss Day, and Mr. W. Holmes; a fantasia on the harp by Mr. Chatterton; and a fantasia on Siccam's diatonic flute by Mr. Sidney Pratten. Mr A. Sedgwick played very feelingly on the Concertina, "Auld Robin Gray," with variations. " God Save the Queen" was given between the parts. At the later part of the evening Messrs. Philips and Harrison made their appearance; their engagement at Covent Garden Theatre prevented them attending before. Mr. Philips gave us "My boyhood's home" in capital style, and Mr. Harrison sang "Then you'll remember me," from the opera of The Bohemian Girl, which met with his usual success. Mr. Allen sang " Oh, summer night," and "There is a flower that bloometh," which greatly delighted the audience. The concert was conducted by Mr. W. H. Holmes and Mr. Lindsay Sloper, and lasted till past 12 o'clock. (The Satirist; or Censor of the Times, Saturday, 14 October 1848)

The Distin Family.-A farewell concert, prior to their departure for the United States, was given on Monday night at Drury-Lane Theatre, and was very well attended. The admirable playing of these four artists on the Saxe horns well known: and the execution of the bravura, the Soldier tired, by the elder Distin, on the trumpet, was quite marvellous. Mr. Sydney Pratten played a flute fantasia; Mr. F. Chatterton, harp solo; Mr. John Day, violin solo; Miss Kate Loder, Miss Day, Mr. W. Holmes, and Mr. Lindsay Sloper. a pianoforte quartett; and Mr. A. Sedgwick, a concertina piece. The vocalists were Miss Birch, the Misses A. and M. Williams Miss Ransford, Miss M. O'Connor, Mrs. W. H. Seguin, Miss Miss Duval, Mrs. Temple, Miss E. Lyon, Mrs. Weiss, Miss Lowe, Miss J. Smith, Messrs. Allen, W. H. Seguin, Weiss, F. Bodda, Sporle, Machin, Ransford, and W. Farren. There was an orchestra led by Mr. Loder, and the conductors were Benedict, Lindsay Sloper, W. H. Holmes, John Willy, and Mr. Brinley Richards. There were upwards of forty pieces in the programme, of every school of composition, the ballads being, however, in the ascendant; and, to judge by the encores, the selection was gratifying to the numerous audience. (Illustrated London News, Saturday, 14 October 1848)

Messrs. Distin's Concert. -Mr. Distin and sons gave farewell concert, on Monday night, previously to their departure for America, at Drury-lane Theatre. The programme was a bumper" one, divided into three parts, and comprising nearly forty pieces of music, vocal and instrumental. Messrs. Distin experienced a very warm reception from their numerous admirers, and we trust will have weighty reasons to be gratified with the manner in which their invitation was responded to. Their wonderful performance on the Sax horns were loudly applauded, particularly the quartet "Soffriva nel pianto," from Lucia di Lammermoor," which was extremely well given. Mr. Distin was encored in the Soldier tired," which he performs upon the trumpet in manner which cannot well be surpassed ; and Mr. Henry Distin received similar honour for his performance on the Alto Sax horn of the scena "All is lost," from the "Sonambula." Miss Birch sang " II soave e bel contento" with exquisite taste, and was loudly encored in it. The other vocal performances included the exertions of the Misses Williams, Mr. and Mrs. Seguin, Mr. Sporle, Mr. W. Farren, Miss Ransford, and others. Amongst the instrumental performances which appeared to be the most worthy of remark, were a grand quartet for four pianos, by Miss Kate Loder, Mr. Lindsay Sloper, Miss Day, and Mr. W. Holmes; "La belle Julie," with introduction and valse brillante, composed expressly for this occasion by Mr. Macfarren, a fantasia on the harp, by Mr. Chatterton ; and fantasia on Siccama's diatonic flute by Mr. Sydney Pratten, each of which shared largely in the applause of the audience. Between the parts "God save the Queen" was given by the principal vocalists, and the, and the full orchestra, with the addition of solo parts the Sax horns by Mr. Distin and his sons-the last-named of which were peculiarly effective. Mr. Thirlwall led the orchestra and the conductors were Mr. Lindsay Sloper. Mr. J. Willey and Mr. W. H. Holmes. (Windsor and Eton Express, Saturday, 14 October 1848)

MESSRS. DISTIN'S CONCERT. This monster entertainment took place on Monday evening at Drury Lane, and attracted a very numerous audience. The programme was divided into three parts, and numbered no less than forty-seven pieces, and included no less than forty-four principal vocalists and instrumentalists, besides a tolerable numerical orchestral force. Now, to set down forty seven pieces, and add thereto the composer's names, and to enumerate the forty-four principal vocalists and instrumentalists, without alluding in any way to the tolerable numerical orchestral force, would, it may be readily allowed, take up more space than could be conveniently spared in the Musical World, however well disposed the Musical World might feel towards the talented members who gave the concert, and the forty-seven pieces which constituted the being of the concert, and the forty-four principal vocalists and instrumentalists by whom was sung or played each item of the concert, to say nothing of the individuals of the tolerable numerical orchestral force, without whom the concert would have been a very indifferent and half-made-up affair. We must, however, with all our good wishes, take leave to inform Mr. Distin, as well as all other monster concert givers, that the programme may be too long as well as too short; that if the public are attracted thereby, they are soon so heartily wearied by the interminable length of the entertainment - as long as one of Dugald Dalgetty's stories - that they are appalled by the very sight of the next bill that announces a monster concert; and, finally, that the press, having so much to notice, notices nothing, for the critic's head is bewildered by the furious concatenation of morceaux which hurry one upon another, like stones out of a cart, that is, provided the critic remain to hear the concert through - which he never does. We must therefore content ourselves and our readers with merely remarking, that at the Messrs. Distin's concert, which took place at Drury Lane last Monday evening, all the popular English singers of the day appeared, with the exception of Mr. Sims Reeves, who, being at the Manchester opera, could not come, in addition to his not being engaged; and Miss Dolby, who was not engaged, and Miss Poole, ditto, and Miss Miran, ditto, together with Miss Messent and Mr. Weiss, who were engaged, but could not come. Now, we contend, this is a far briefer way of informing the reader who were engaged, than if we mentioned all the names in rotation. We must state, ere concluding, that the performances of the Messrs. Distin were received with vehement applause, and that the entertainment, long as it was, did not appear to fatigue more than half the company - an incontrovertible sign that excellence was the prevailing feature of the concert. Mr. Loder was the leader; while the conductorship was partitioned, and shared by Messrs. Benedict, Lindsay Sloper, W. H. Holmes, John Willy, and Brinley Richards. (The Musical world, Saturday, 14 October 1848)

Monday, 13 November 1848 : The Society of British Musicians's First Concert at Hanover-Square Rooms.

SOCIETY OF BRITISH MUSICIANS.-This society has commenced its fifteenth season with a series of chamber concerts at the Hanover-square Rooms. The first took place last evening, and was attended by a numerous audience, among whom we observed many distinguished professors and amateurs The performance commenced with Mendelssohn's Quintet in A for two violas, two tenors, and violoncello, performed by Messrs. Watson, E. W. Thomas, Weslake, R. Blagrove, and W. F. Reed. It was admirably executed, and had a charming effect, especially the scherzo, a movement strikingly characteristic of Mendelssohn's genius. Miss M. Williams sang a ballad, " The winter it is past," composed by Miss Kate Loder. It was pretty; but had the fair composer known the simple, plaintive little Scotch melody to which the verses properly belong, she would not have thought of joining them to any other music. Mozart's " Voi che sapete " was sung by Miss Thornton with much beauty of voice, and in a pure style; but she did not give the various shades of expression which form the difficulty of this air. The Misses Williams then sang a duet, "Where honeyed roses," composed by Mr. J. B. Calkin - a pleasing, but not remarkable composition, very nicely sung. A sonata for the pianoforte and violin, by Mr. Walter Macfarren, was played by Messrs. Lindsay Sloper and Watson. The music is redolent of Mendelssohn from beginning to end, but has much merits, especially the scherzo, which is fanciful and animated. It received great justice from the executants. The second part of the concert began with a quartet for two violins, tenor, and violoncello, by Mr. C. Potter, performed by Messrs. B. W. Thomas, Watson, Weslake and Reed ; an excellent and classical composition of the school of Haydn and Mozart, clear in design, ingenious in its combinations, and full of pleasing melody. The finale was especially vigorous and spirited. Mr. W. H. Seguin then sang Handel's fine air, Tette rea, from the opera of Scipione, with an effect which produced a general encore. Two songs, composed by Mr. Charles Horsley, were sung by Miss A. Williams, with violoncello obligati accompaniment by Mr. Reed. The one is entitled a Rmnade, the other The Water Lily. Both have merits, but they are quite in the modern German style, and more remarkable for the richness and fulness of the accompaniments than for the beauty and expression of the melodies. Beethoven's grand trio in B flat for the pianoforte, violin, and violoncello was then performed by Miss Kate Loder ; and a trio from Macfarren's Devil's Opera concluded a very interesting concert. (Daily News, Tuesday, 14 November 1848) (Also: London Express, Tuesday, 14 November 1848.)

THE SOCIETY OF BRITISH MUSICIANS. The fifteenth season of this interesting institution commenced last evening. The small gloomy chambers of Berners-street have been at length abandoned for the more spacious and genial ones of Hanover-square ; and the little drawing room dilettanti " Caw me, caw thee," kind of spirit which has hitherto characterised the proceedings of "British musicians " seems about to be exchanged for something approaching to a wholesome appeal to the musical public in general. Thus far the committee give evidence of increased activity, and we trust they will meet with all the encouragement and support due to their energy and perseverance. The concert of last night commenced with Mendelssohn's well-known quintet in A, for two violins, two tenors, and violoncello, admirably performed by Messrs. Watson, E. Thomas, Westlake, R. Blagrove, W. F. Reed. Mr. Watson, who sustained the first violin has improved much since last we heard him, and if he will study to acquire a little more fulness of tone, may, eventually, become one of our best quartet players. Miss Kate Loder's song, "The winter, it is past," is a composition of merit, and was interpreted with much taste and expression by Miss M. Williams. We cannot compliment Mr. J. Baptiste Calkin on his new duet, nor the Misses Williams on their performance of it, nor the managing committee on their taste in admitting it into the programme. It is a vapid, common-place affair, totally unworthy of a classical concert. Mr. Walter Macfarren's sonata for piano and violin, performed by Messrs. Lindsay Sloper and Watson, formed an important feature in the concert. It is a very unequal work, containing much that is highly commendable, and giving occasional evidence of superior talent ; but we hardly think that talent as yet sufficiently developed to warrant its possessor in trespassing upon the time of a critical audience for so long a space as Mr. W. Macfarren's sonata, occupied. It is only the highest order of musical genius, matured by profound study, that can render such lengthy works as sonatas and quartets interesting to an assemblage of connoisseurs. We would advise Mr. W. Macfarren to eschew for the future all servile copies of Mendelssohn's phraseology, and endeavour instead to discover the principle upon which he wrote, and strive to catch the spirit of his works. His sonata, especially the first movement, is far too Mendelssohnian for an original work by a British musician. When we say that the pianoforte part of this sonata was performed by Mr. Lindsay Sloper, it would be superfluous to add that it was done justice to, for that our young country man is one of the first pianists of the day is a fact well proved and well established. Mr. W. H. Seguin met with a well-deserved encore in Handel's noble song, " Tutta Rea," from The Scipione. This gentleman is one of our very best concert singers, and his readings are always careful and musician-like. Macfarren's trio, " Good Night," concluded the concert. The rooms were well attended. (Morning Post, Tuesday, 14 November 1848)

SOCIETY OF BRITISH MUSICIANS. This society, last night, gave its first chamber concert this season, at the Hanover-square Rooms. The audience was numerous, and the selection of music presented for their entertainment judicious and tasteful. It opened with a quintett in A, Op. 18, Mendelssohn -two violins, two tenors, and violoncello-Messrs. Watson, Edward W. Thomas, Westlake, R. Blagrove, and W. F. Reed-which was performed with great taste and ability of execution, as might be expected from the celebrity of the performers. The Misses Williams sang a duet for the first time of their performance, both the composition of Mr. C. E. Horsley; the first a serenade, which presented little to commend, either with regard to the poetry or the music; the second, however, was a very pleasing composition, and was either a very beautiful expression of the libretto, or the poetry excellent translation of the musical sentiment of the song. The concluding line interprets it to be a musical translation of "the language of the flowers." It is entitled The Waterlily," and runs as follows: "Upon the deep blue water a rose was seen to blow, Its verdure glitters and sparkles, its chalice white as snow; The moon on high is rising, pouring her silver beams Into its snowy bosom, as o'er the lake she gleams. On the water round the flower, gently swan does glide; He sings so sweet, so softly, and views the blooming bride ; And thus so softly singing, he fain would there remain, "O say then, lovely flower, cans't thou the song explain?" There was also a Sonata MS. by Macfarren, pianoforte and violin, admirably performed Messrs. Lindsey Sloper and Watson. It is a beautifully written composition, and was applauded to the echo. Miss Thornton sang Mozart's aria, Voi che sapete," with great taste, and Mr. W. H. Seguin gave Handers beautiful song, Tutta rea, in admirable style. It was encored. There was also a quartet in (MS.), by Cipriani Potter, two violins, tenor, and violoncello, Messrs. Edward W. Thomas, Watson, Westlake, and W. F. Reed ; and a trio in flat. Op. 97, pianoforte, violin, and violoncello. Miss Kate Loder, Messrs. Edward W. Thomas, and W. F. Reed, from Beethoven, which were rendered with great taste and execution. They were deservedly applauded, and gave general satisfaction. The entertainments concluded with appropriate finale in a trio, Good Night," by the Misses Williams and Miss Thornton from the "Devil's Opera," terminating in the choral verse "Good night! may slumber lend its balm. To soothe each past annoy. And hopeful And hopeful dreams, as bright as calm, Inspire our future joy." (Morning Advertiser, Tuesday, 14 November 1848)

Society of British Musicians. THIS society, of which the arrangements had for some time been under discussion, have emerged from their quasi-private position in Berners-street to Hanover-square. The move is decidedly a good one ; and we trust that a society, founded on such excellent principles, will rise into due importance. The society held its first meeting on Monday evening, when, in accordance with the usage, several new pieces were performed from the MS. copy. The principal of these was a quartet in by Cipriani Potter, for violin, tenor, and violoncello. There is a great deal of merit about this work. The opening movement is spirited and clever, the scherzo good and well managed. The piece was capitally played by Messrs. Thomas, Watson, Westlake. and Reed. A sonata in 1) by Macfarren, for pianoforte and violin, had less merit ; the parts had little or no distinction of character, and a want of spirit and life ran through the affair. A few passages were good - much after Dusseck's old style, and full justice was done to them by Messrs. Lindsay Sloper, and Watson. Four new songs were given, one after Schubert, by Miss Kate Loder, very short, and very good, and unanimously encored. The second was a duet by Ballini, after the old madrigal style, not unsuccessful, and pleasingly sung by the Misses Williams. The others were two songs of Mr. C. Horsley, both of them rather tame. Mendelssohn's beautiful quintet in A opened the concert ; it is difficult to spoil such music, but on the present occasion it was by no means well played-a want of light and shade ran through the whole, and the execution of the third movement degenerated the music into fiddle-faddle. Beethoven's trio in B flat for pianoforte, violin, and violoncello, called forth some of Miss Kate Loder's most beautiful playing. She was capitally accompanied by Messrs. Thomas and Reed. Mr. Seguin sang Handel's "Jutta aria with great taste, and got an encore. _ On the whole, the performance was very satisfactory. It had attracted a number of our most distinguished musicians, and the society, if it keeps up its present spirit, may be expected to c.c. mach for the promotion of of native talent. Although fifteen years in existence, its previous arrangements had kept it too much in the back ground to enable it to do the good which we now trust it will eventually find in its power. (Atlas, Saturday, 18 November 1848) (Also: Atlas, Saturday, 18 November 1848.)

Society of British Musicians. - This society illustrates the "hope deferred which maketh the heart sick." Year after year we look in vain for something to spring from the native talent source, but dry and barren are the annual proceeds. Beyond a record of the change in the locality for the concerts -the Hanover-square Rooms are now the head-quarters-there is little to tempt criticism at the first chamber concert of the 15th season on Monday. The scheme opened with Mendelssohn's Quintet in A, op. 18, for two violins (Watson and E. W. Thomas), two tenors (Westlake and R. Blagrove), and violoncello (W. F. Reed). There was also Beethoven's Trio in B flat, op. 97, for piano, violin, and violoncello, executed by Miss Kate Loder, Messrs. E. W. Thomas and W. F. Reed ; a MS. Quartet in G, Ciprian Potter, for two violins, tenors, and violoncello, written [?]; and a new MS. Sonata, No. 2, for pianoforte and violin, played by Lindsay Sloper and Watson. The vocal gleanings were a song to Kit Marlow's words "The winter it is past," sung by Miss M. Williams, and composed by Miss Kate Loder, which was encored; a MS. duo sung by the Misses A. and M. Williams, "Where honied roses," composed by Mr. J. B. Calkin, brother of the singer of that name, and son of the violoncello player; two songs by Charles E. Horseley, with over-elaborately-wrought accompaniments, sung by Miss A. Williams; and Macfarren's elegant trio from the "Devil's Opera," "Good Night," ascribed in the printed bills to Beethoven, sung by the Misses Williams and Miss Thornton. Mr. C. Coote presided at the pianoforte. The second concert will be on the 27th instant. (Illustrated London News, Saturday, 18 November 1848)

SOCIETY OF BRITISH MUSICIANS, Hanover-square Rooms. - This Society gave its first concert of this (being its fifteenth) season on the 13th ult. to a full assembly of amateurs and artists. To the real lover of music there is something peculiarly charming in the class denominated chamber-music, consisting of the quartet of stringed instruments and its variations. To the composer it is the severest of tests, rendering that which is beautiful in all its beauty ; but stripping the tawdry and exposing it in all its poverty. This is the reason why the music of the French school is not enduring - it lacks poetry and simplicity, resting its claims on mere instrumentation, and the crash and dash of brass and sheep's-skin, which, while it serves to cover paucity of invention, raises, by contrast, any trembling bit of quiet mediocrity which may follow into undue importance, and is relished, just as the mouldy crust by the starving, not because it is good, but that the force of circumstances makes it so - is all foil and no diamond. How different is the chamber. music of those great writers - Mozart, Haydn, Beethoven, Spohr, Mendelssohn, and others, and how great and exclusive the enjoyment of those who perform on the instruments of the violin family, for which these great men have given forth the most brilliant scintillations of their genius, and which to other instrumentalists are a sealed book. The concert commenced with, to our taste, the gem of the evening, Mendelssohn's Quintet in A. It bore the stamp of its author from beginning to end - delicious, dreamy, fairy-like-breathing, at times, scarce audibly, like moonbeams on summer flowers, then escaping in wild, fanciful strains of daring combinations, telling of midnight revels of tiny spirits. It is truly a marvellous work, and was excellently performed by Messrs. Watson, Thomas, Westlake, R. Blagrove, and Reed. Beethoven's [sic] trio in B flat, for piano, violin, and violoncello, is also a fine composition, especially the Andante Cantabile movement; but it was performed late in the evening, when the bustle of departing votaries of Apollo (because it's the fashion) interrupted the enjoyment of it. Of this class of composition by native composers, two specimens were given - a Quartet in G, by Cipriani Potter, of no very remarkable character, and a Sonata in D, by W. C. Macfarren, for piano and violin, performed by Messrs. Lindsay, Sloper, and Watson, with faultless excellence. Mr. Sloper is already well known to the public as an eminent pianist, and Mr. Watson well deserves the same enviable notoriety as a violinist; his style is easy and finished, his bowing graceful ; chaste, yet impassioned, in his delivery ; while for purity and quality of tone he has few equals ; but perhaps the highest praise that can be awarded him is, that he becomes, for the time, the thorough exponent of the composer - a quality so frequently overlooked in the poor ambition for dash and clap-trap. The vocal part of the concert was not so satisfactory, if we except Miss Thornton's sweet delivery of "Voi che sapete," and Mr. Seguin's encored "Tutta rea," from Handel's "Scipione." Two new songs, by Charles E. Horsley, "A Serenade," and the "Water Lily," the words of both being below mediocrity - mere common-place, wanting originality, and savouring strongly of the Germanic. (Critic of books, society, pictures, music and decorative art, 1848-1849, Friday, 1 December 1848) (Also: The Critic, Friday, 1 December 1848.)

SOCIETY OF BRITISH MUSICIANS. This society has given three concerts of chamber music at the Hanover Square Rooms, which have been well attended and highly successful. The first took place on the 13th ult, when the following selection was performed:- Quintet in A, Op. 18, two violins, two tenors, and violincello, Messrs. Watson, Edward W. Thomas, Westlake, R. Blagrove, and W. F. Reed - Mendelssohn, Song, "The winter it is past," Miss M. Williams - Kate Loder. Aria, "Voi che sapete," Miss Thornton - Mozart. Duet (MS. first time of performance), the Misses Williams - J. Baptiste Calkin, Sonata, No. 2, in D (MS.) pianoforte and violin, Messrs. Lindsay Sloper and Watson - . Macfarren. Quartet in G (MS.), two violins, tenor, and violoncello, Messrs. Edward W. Thomas, Watson, Weslake, and W. F. Reed - C. Potter. Song, "Tutta rea," Mr. W. H. Seguin (Scipione) - Handel. Two Songs (first time of performance), Miss A. Williams, violoncello obligato, Mr. W. F. Reed - C. E. Horsley. Trio in B flat, Op. 97, pianoforte, violin, and violoncello, Miss Kate Loder, Messrs. Edward W. Thomas, and W. F. Reed - Beethoven. Trio, "Good Night, the Misses Williams and Miss Thornton (Devil's Opera) - Beethoven. Mendelssohn's superb quintet was played well, but might have been played better, had it enjoyed the advantage of an extra rehearsal. Kate Loder's song is an emanation from a graceful and poetic mind; it could not have had a more faithful interpreter than Miss M. Williams. Walter Cecil Macfarren's sonata is a composition of distinguished originality and merit, to which we hope to refer again on a future occasion; its young composer is rapidly rising to eminence, and has already acquired much that appertains only to the master. The duet was excellently played; as was Mr. Potter's quartet, about which we have more than once expressed our high opinion. Mr. Seguin was encored in Handel's fine song, and deserved the compliment. Mr. Horsley's songs are both clever, but neither of them are among his happiest inspirations; we like the last best. Miss A. Williams did full justice to both, and Mr. W. F. Reed's violoncello obligato was worthy all praise. Kate Loder performed the trio of Beethoven in masterly style, and was ably supported by Messrs. E. W. Thomas and W. F. Reed. Macfarren's delicious trio, capitally sung, made a spirited end to the concert. Mr. Coote was the accompanyist. (The Musical world, Saturday, 16 December 1848)

Thursday, 16 November 1848 : Literary Association of the Friends of Poland's Polish Ball and Concert at Guildhall, City of London.

POLISH BALL AT GUILDHALL. The committee for the management of this entertainment met on Thursday at Guildhall. In the absence of Mr. Deputy Peacock, Mr. Holt, deputy-chairman, presided. The attendance was very numerous. It was resolved, that the ball and concert be given on Thursday, the 11th November next, and that every exertion should be made to render it as attractive as the former ones. Lord DUDLEY STUART announced that several persons of distinction had already granted their patronage, and promised to honour the ball with their presence, and that many distinguished artistes have tendered their gratuitous services at the concert which will be under the direction of Mr. Benedict and Mr. Lindsay Sloper. Some of the members, present having expressed their sympathy, and offered their co-operation with the object in view, Lord DUDLEY STUART rose and said: Gentlemen-I am very happy to meet you here again, and once more to be associated with you in this good cause. The cause is a good one - it is that of benevolence, of kindness towards men in difficulty and distress ; and although it may want the charm of novelty, and may not be so attractive to the public as it once was, the cause of Poland is, as it ever has been, that of truth and justice. Without, however, going into the merit of the Polish question at all in its political aspect, without inquiring whether it be such as to deserve our sympathy or not, it is enough for us to know that there are foreigners here among us requiring our aid, and brought into the melancholy condition of exile by their resolute discharge of that which in their view they considered to be their duty. It is to assuage their pain, to mitigate their sufferings and not for any political purpose, that those who promote the Polish ball combine together. We may have - We have - different political views and feelings, and the Poles, like ourselves, must have different political opinions; but our object on this occasion is not to further or assist any political designs, either of our own, or of theirs, but simply to render their lot more tolerable while they are among us and to preserve them from complete destitution. Some few month is ago there were about 700 Poles receiving a weekly allowance from the Treasury, and about 60 or 70 whose cases did not come within the rules of the Treasury, and who formed at sort of supplementary body and received weekly relief from the Association of the Friends of Poland. The number of the former is now reduced to about 350, and that of the latter to about 30. The weekly allowances are however, very small. Some persons seem inclined to grudge to us the use of the Guildhall, and to think it would be better bestowed on some charitable undertaking for the relief of the suffering poor of this country. I cannot affirm that no ball of this nature was ever given before the Polish balls began; but it is certain that our society is the first that has ever established the custom of having a ball annually at Guildhall. We have shown how the hall may be turned to account, and now persons who, but for us, would probably not have thought of it, come forward with all attempts to deprive us of it. Hitherto we have never applied for the hall without obtaining it, for it was incorrectly stated in the debate in the Court of Common Council, that it was refused to us in the mayoralty of Alderman Johnson, in order to be given to the City Ward Schools. It was not refused then, for it was not applied for. Whenever we come forward on behalf of the Poles, some invidious comparisons are drawn between the Claims of the Poles and those of our own poor. To the latter we are by no means insensible ; but, while we are ready and willing to assist our own people to the utmost of our power, we do not wish to see the Poles who have come among us to seek an asylum, find here nothing but a grave. I agree that the corporation has done enough with reference to pecuniary assistance. I do not forget, and none of the Poles, and none of the friends of Poland, forget the munificence of the Common Council which a few years ago voted a sum of 500l. for the relief of the Poles. That was a noble donation, nobody would think of its being repeated. It was done once, and it was enough. Trite it is that the Poles have been here for many years, and it is often said that they ought by this time to be able to provide for themselves, either here or by removing elsewhere ; and hence it is that their number has within a certain period been reduced by one-half; But there are others who have not been so fortunate. Foreigners in this country always find a great difficulty in procuring employment, and especially those not bred to any particular trade or calling. Then it is asked, and sometimes in a tone of indignation, why do they not return to their own country ? If, indeed, they could do so, and they only remained here from choice, they would have little claim to our assistance; but the simple answer to the question, Why they do not go to Poland? is, "They cannot." People suppose that, like the Italians, Spaniards, or Germans, there is nothing to hinder their return; but that is a complete mistake. Poland being divided between Prussia, Austria, and Russia, those who belong to that part under Prussia, have been at liberty to return any time since the accession of the present King and they have all long been gone. Those belonging to that part under Austria have, since the new state of things in Germany, been at liberty to go to their homes, and have also gone ; but those belonging to that part under Russia, who are by far the most numerous, can no more return now than they could the year after the Polish revolution. After some further observations the noble lord concluded and the committee having transacted some routine business, adjourned till Tuesday next. (Morning Chronicle (1801), Saturday, 28 October 1848)

POLISH BALL AND CONCERT.-The committee for conducting the annual fete in the City of London held another meeting at Guildhall, on Tuesday last. Mr Deputy Peacock occupied the chair, and informed the members present that the preparations for this entertainment were progressing with great prospect of success. Independently of many distinguished names of patrons announced by Lord Dudley Stuart, another abiding proof of the sympathy felt for the condition of the unfortunate exiles can be found in the grateful alacrity with which the most eminent artistes now in the metropolis have tendered their gratuitous services at the concert. Their names are: - Mrs Weiss, Miss Poole, Miss Bassano, the Misses Williams, Miss Messent, Miss Miran, Miss Ransford, Miss Dolby, Mr Sims Reeves, Mr W. H. Harrison, Mr Charles Braham, Mr Whitworth, and Mr Frank Bodda. Mr Benedict and Mr Lindsay Sloper are the conductors. An unusual attraction will be added to the excellent concert by the performance of the celebrated pianist, Mr Chopin, who will for the first time be heard in the City of London. All the gorgeous decorations used at the Lord Mayor's banquet will be preserved for the ball, and several new arrangements, conducive to the comfort of the company, and the magnificence of the splendid hall, have been determined upon by the committee. A most efficient band, let by Mr Adams, who gave such universal satisfaction on former occasions, has been engaged. Many applications are being made for the tickets which have been issued. (Globe, Thursday, 2 November 1848) (Also: Bell's Life in London and Sporting Chronicle, Sunday, 5 November 1848; London Observer, Monday, 6 November 1848; Bell's Life in London and Sporting Chronicle, Sunday, 5 November 1848; Morning Advertiser, Thursday, 2 November 1848; Bell's Weekly Messenger, Saturday, 4 November 1848; Bells Life In London and Sporting Chronicle, Sunday, 5 November 1848; Atlas, Saturday, 4 November 1848.)

Polish Ball and Concert at Guildhall, on Thursday, the 16th Inst.-Another meeting of the Committee for conducting this annual entertainment, took place at Guildhall, on Monday last, under the presidency of Mr. Holt, deputy chairman. From the reports made by some of the members present, and also received from various quarters, there is every reason to believe that the exertions of the friends of Poland will, as usual, be crowned with success. A most distinguished list of patrons and patronesses, headed by H.R.H. the Duchess of Kent, was laid before the committee by Lord Dudley Stuart, and his Lordship handed likewise over to the treasurer several donations which he received for the benefit of this benevolent undertaking. Every precaution has been taken to facilitate the comfort and convenience of the visitors, a separate saloon, brilliantly lighted, and embellished with shrubs and evergreens, having been prepared, in addition to the other refreshment-rooms, for the numerous company expected on the occasion. The excellence of the Concert, under the able direction of Mr. Benedict and Mr. Lindsay Sloper, forms of itself a great attraction, comprising, as it does, the names of the most eminent vocalists. Miss Poole, Mrs. Weiss, Miss Bassano, Miss Ransford, Miss Messent, Misses A. and M. Williams, Miss Dolby, and Miss Miran; Mr. Sims Reeves, Mr. W. H. Harrison, Mr. Charles Braham, Mr. Whitworth, Mr. Weiss, Signor Burdini, Mr. Williams, and Mr. Frank Bodda. And no small feature of this musical treat will be in the performance of the celebrated artiste Monsieur Chopin, who has never yet been heard before the public in London. Several distinguished persons have signified their intention to honour the ball with their presence, and when the gay scene presented on the evening of the fete, in the magnificent hall, hung with flags and banners, brilliantly illuminated and filled with a variety of rich dresses and gorgeous costumes, can be imagined, it is not surprising to see it as it has ever been, fully and fashionably attended with the votaries of dance, and many other persons, anxious to testify their feelings in a just and righteous cause. (Morning Advertiser, Friday, 10 November 1848) (Also: Illustrated London News, Saturday, 11 November 1848.)

THE POLISH BALL AND CONCERT. - This excellent and charitable affair is fixed for Thursday next, and we are happy to hear that from the numerous applications for tickets it is certain to be crowned with success. The arrangements, on a scale of more than usual splendour, have been completed, and cannot fail to meet with universal approbation. Every precaution has been taken to facilitate the comfort and convenience of the visitors. A magnificent saloon, brilliantly lighted, and embellished with shrubs and evergreens, has been prepared, in addition to the other refreshment rooms for the numerous company expected on the occasion. The excellence of the concert, under the able direction of Mr Benedict and Mr Lindsay Sloper, forms of itself a great attraction, comprising as it does the most eminent vocalists :-Miss Poole, Mrs Weiss, Miss Bassano, Miss Ransford, Miss Messent, the Misses A. and M. Williams, Miss Dolby, Miss Miran, Mr Sims Reeves, Mr W. H. Harrison, Mr Charles Braham, Mr Whitworth, Mr Weiss, Signor Burdini, Mr Williams, and Mr Frank Bodda. And no small feature of this musical treat will consist in the performance of his own compositions, by the celebrated artiste, Mr Chopin, who has never been heard before the public in London. Several distinguished persons have signified their intention to honour the ball with their presence, and when the gay scene presented on the evening of the fete in the magnificent hall, hung with flags and banners, brilliantly illuminated, and filled with a variety of rich dresses and gorgeous costumes, can be imagined, it is not surprising to see it, as it has ever been, fully and fashionably attended with the votaries of dance, and many other persons anxious to testify their feelings in a righteous and good cause. (Bell's Life in London and Sporting Chronicle, Sunday, 12 November 1848) (Also: Bell's New Weekly Messenger, Sunday, 12 November 1848; Bell's Life in London and Sporting Chronicle, Sunday, 12 November 1848.)

was distressed foreigners during the approaching whiter; and thus, while administering to the wants of others; we may propitiate Providence to be merciful to us, and avert from us those calamities that have threatened to invade us. The arrangements for this annual entertainment are upon a scale of unusual splendour. Every precaution has been taken to facilitate the comfort and convenience of the visitors. A magnificent saloon, brilliantly lighted, and embellished with shrubs and evergreens, having been prepared, in addition to the other refreshment rooms, for the numerous company expected on the occasion. The excellence of the Concert, under the able direction of Mr. Benedict and Mr. Lindsay Sloper, forms of itself a great attraction, comprising as it does the most eminent Vocalists Miss Poole, Mrs. Weiss, Miss Bassano, Miss Ransford, Miss Messent, the Misses A. and M. Williams, Miss Dolby, Miss Miran, Mr. Sims Reeves, Mr. W.H. Harrison, Mr. Charles Braham, Mr. Whitworth, Mr. Weiss, Signor Burdini, Mr. Williams, and Mr. Frank Bodda, and no small feature of this musical treat will consist in the performance of his own compositions, by the celebrated artiste, Mr. Chopin, who has never been heard before the public in London. Several distinguished persons have signified their intention to honour the Ball with their presence, and when the gay scene presented on the evening of the Fête in the magnificent hall, hung with flay and banners brilliantly illuminated, and filled with a variety of rich dresses and gorgeous costumes, can be imagined; it is not surprising to see it, as it has ever been, fully and fashionably attended with the votaries of dance, and many other persons, anxious to testify their feelings in a righteous cause. (London Magnet, Monday, 13 November 1848)

THE POLISH BALL.-Yesterday the annual ball and concert, in aid of the funds of the Literary Association of the Friends of Poland, took place in the Guildhall, under the auspices of the Lord Mayor and the Lady Mayoress, and of a number of gentlemen distinguished for their exertions on behalf of the Poles, at the head of whom may be named Lord D . Stuart, M.P. The decorations of the hall were the same as at the recent civic inauguration feast. The concert, under the direction of Mr. Lindsey Sloper, was very attractive, and the programme embraced the names of many leading native artists, including Mr. Sims Reeves, Mr. Charles Braham, and Mr. and Mrs. Weiss. A beautiful masurka was played by M. Chopin, its composer, who is a Pole, and a musician of European Celebrity. (Daily News, Friday, 17 November 1848) (Also: Jackson's Oxford Journal (1809), Saturday, 18 November 1848; London Emigrant and Colonial Gazette, Saturday, 18 November 1848.)

The Polish ball.--On the 16th inst. the annual ball and concert, in aid of the funds of the Literary Association of the Friends of Poland, took place in the Guildhall, under the auspices of the Lord Mayor and the Lady Mayoress, and of a number of gentlemen distinguished for their exertions on behalf of the Poles, at the head of whom may be named Lord D. Stuart, M.P. The decorations of the hall were the same as at the recent civic inauguration feast. The concert, under the direction of Mr. Lindsay Sloper, was very attractive, and the programme embraced the names of many leading native artists, including Mr. Sims Reeves, Mr. C. Braham, and Mr. and Mrs. Weiss. A beautiful mazourka was played by M. Chopin, its composer, who is a Pole, and a musician of European celebrity. The dancing in the Hall was commenced early, and continued to a late hour. The company as usual comprised military and naval officers, citizens. West-end idlers, and a few M.P.'s, amongst whom, Mr. Chisholm Anstey, in a Scotch kilt, was somewhat conspicuous. Altogether there was an excellent attendance, and it is gratifying to be able to vouch for the fact, that the Polish ball was as brilliant and successful this year as on any previous occasion. (London Express, Friday, 17 November 1848) (Also: Waterford Chronicle, Saturday, 25 November 1848; Chelmsford Chronicle, Friday, 24 November 1848; Oxford Journal, Saturday, 18 November 1848; London Daily News, Friday, 17 November 1848.)

The conductors of the concert were Mr. Benedict and Lindsay Sloper. M. Chopin performed an exquisite nocturne … [Abridged] (Morning Advertiser, Friday, 17 November 1848)

POLISH BALL. The Annual Grand Dress and Fancy Ball and Conceit in aid of the funds of the Literary Association of the Friends of Poland was held at Guildhall on Thursday; and, in spite of the strong, and we might almost say somewhat uncharitable, remarks of our contemporaries upon the subject, we were pleased to observe that the attendance on Thursday was not inferior to the average of that former occasions. Amongst those who were early in the Hall, observed the Lord and Lady Mayoress. The elegant decorations with which the hall was fitted up for Lord Mayor's Day were retained for the present occasion ; and the vast apartment, when when brilliantly lighted, presented coup d'oeil of singular beauty. The concert was conducted by Mr. Benedict and Mr. Lindsay Sloper, who, as well as all the other performers, generously volunteered their gratuitous services. Among the vocalists who had come forward on this occasion to offer their aid were Miss Poole, Mrs. Weiss, Miss Bassano, Miss Ransford, Miss Messent, Misses. A. and M. Williams, Miss Dolby, and Miss Miran; Mr. Sims Reeves, Mr. W. H. Harrison, Mr. Charles Braham, Mr. Whitworth, Mr. Weiss, Signor Burdini, Mr. Williams, and Mr. Frank Bodda. M. Chopin, the celebrated was also present, and performed some of his beautiful compositions with much applause. The dancing commenced soon after 9 o'clock, and was continued with unabated vigour till an advanced hour in the morning. The refreshments were furnished very elegant scale by Messrs. Younghusband & Son, of Basing-lane. (Illustrated London News, Saturday, 18 November 1848)

Saturday, 16 December 1848 : Mr. Lindsay Sloper's Last Pianoforte Soirée.

MR. LINDSAY SLOPER'S PIANOFORTE SOIREES. On Thursday evening, the 16th inst., was given the last of the series of these most interesting soirées-interesting, from having presented us with some of the most beautiful specimens of the great masters, and various compositions, unknown to us, of Jean Baptiste Lully and Francois Couperin. The programme was comprised of Hummel, Couperin, Beethoven, Mozart, Mendelssohn, Bennett, Heller, and Lindsay Sloper. A beautiful MS. duett of Hummel's, for two pianofortes, was most efficiently executed by Madame Dulcken and Mr. Lindsay Sloper, and Beethoven's lively sonata in E minor proved how truly Mr. Sloper is imbued with the spirit of that "Shakspere or Michael Angelo of music." It is the true legitimate playing. No exaggeration or striving to produce effects where the composer has not introduced them; but classical and unforced feeling is displayed throughout. Mr. Sloper is also much to be commended for searching after novelties, which each of his programmes has afforded. A duett of Mendelssohn's, for piano and violoncello, much delighted us from the truly artistic manner in which it was rendered by Messrs. Sloper and Rousselot. The "Allemande" of Couperin, most quaint and pleasing, seemed, by the applause which was bestowed upon it by the audience, to be much relished, as was also the beautiful nocturne and scene pastorale of Heller. Miss Bassano sang sweetly an aria from La Clemenza di Tito; and Miss Ransford two songs of Sterndale Bennett's, in the latter of which she obtained an encore. The evening concluded with a charming Mazourka and study, alia Tarantella, by Mr. Sloper, whose compositions always display that classical elegance and scientific construction which place our talented countryman upon so high a standard of musical eminence. (The Mirror of literature, amusement, and instruction. … Ser. 4, v. 3 (1848), Sunday, 31 December 1848) (Also: The Mirror of literature, amusement, and instruction. … Ser. 4, v. 3 (1848), Sunday, 31 December 1848.)

Monday, 18 December 1848 : Mr. Howard Glover's Musical and Dramatic Academy Concert at Hanover-Square Rooms.

Mb. HOWARD GLOVER has the honour to announce that be will give a GRAND CONCERT at the Queen's Concert Rooms, Hanover-square, on Monday Evening, December 4. to commence at Eight o'clock, on which occasion a selection from Gluck's classical Opera, entitled IPHIGENIA to TAURIS, will be performed (for the first time in England) by the Pupils of the Musical and Dramatic Academy, in Soho-square. To be followed by a Miscellaneous Act, In which Miss Rainforth, Mr. LeSier, Mr. Lindsay Sloper, Mr. Edward W. Thomas, and other eminent artistes will appear. Conductor, Mr. Howard Glover.- Admission Ticket, 2s. 6d. each. Renerved Seats, 5s. To be had of Mr. Howard Glover, [?], Soho-square ; and at the principal musicsellers. (Morning Chronicle (1801), Tuesday, 28 November 1848)

HANOVER SQUARE ROOMS. - Mr. Howard Glover gave his first musical and dramatic Academy Concert at the above rooms. The programme, of which the performed by them. The first part consisted of a selection from Gluck's Iphigenia in Taurus, and the second and third of miscellaneous vocal and instrumental pieces, was executed principally by the pupils of Mr. Glover, most of whom showed promise of future musical excellence. Miss Rainforth sang a song of Mendelssohns's, The First Violet, with great delicacy, and Mr. Delavinti threw off a buffo song (from a manuscript opera, by Mr. H. Glover) with considerable spirit and much finish. The vocal portion of the concert was relieved by a fantasia on the harp from Mr. Gerhard Taylor, a fantasia on the violin from Mr. E. W. Thomas, and a performance on the pianoforte from Mr. Lindsay Sloper, all of which compositions were admirably executed. (Morning Chronicle (1801), Tuesday, 19 December 1848) (Also: Bell's Weekly Messenger, Monday, 25 December 1848.)

HANOVER-SQUARE ROOMS. IPHIGENIA IN TAURIS. The concert of Mr. Howard Glover's Musical and Dramatic Academy took place on Monday night, upon which occasion a selection from Gluck's wondrous opera was given in an English dress expressly for the pupils. Great credit is due to Mr. Howard Glover in bringing forward this work, for no fitter medium could have been chosen for the exercise of the operatic aspirants, and the display of their declamatory powers. The Iphigenia in Tauris is a monumental work, and- although it may possibly fail to reach the understandings of our "fast men " and ballad mongers- a work in which a few tones are made to express the most powerful and varied emotions of the human heart with a vivid reality and intensity which no other dramatic writer has equalled. Grandeur, simplicity, and concentrated power and passion reign throughout. The recitative is magnificent- the lighter airs are fraught with touching, truthful tenderness, while the more impassioned ones display a marvellous vigour and concentration. The opera opens with a solo and chorus, sung during a thunder storm, by Iphigenia and her priestesses, who invoke the gods to shield them from the vengeful lightnings. The tempest dies away, and the chorus is followed by a recitative, in which Iphigenia relates her dream of the murder of her brother. This is one of the finest pieces of descriptive music extant. It leads to an exquisite air, " O thou who protecteth my days," sung by Iphigenia. Here follows a chorus of priestesses, who bewail the sufferings of their mistress. A succession of diminished sevenths in the harmony gives a plaintive character to this little chorus. King Thoas now enters, and relates to Iphigenia that the Oracle has declared that nothing but human blood can appease the anger of the gods, and that should any stranger set foot upon those shores he must be sacrificed. This introduces a fine air, "What dark presentiments," which exhibits all the best characteristics of Gluck's style. At this moment Orestes and Pylades, who have suffered shipwreck on the island, are seized as prisoners, and are hailed by the Scythians as the expected victims of the irate gods. They are condemned to instant death. Iphigenia is thus forced to assist at the immolation of her brother, Orestes. In the recitative and air of Orestes which follow, his bitter self-reproach for being, in addition to his other crimes, the cause of his friend's death- his impious daring, remorse, and all the stormiest emotions of the tortured soul of the parricide in its agony and desolation are expressed with astounding power. This is succeeded by an air of a totally different character, in which Pylades endeavours to console and calm his suffering friend, reminding him of their early days of love and friendship. This air, "United from tenderest infancy," possesses a thrilling pathos which goes at once to the heart. And then comes the grand scene, the air and chorus of Orestes and the Euminides, " Nature be avenged !" This is the most finely conceived dramatic composition with which we are acquainted : the constant recurrence of the words, " he has murdered his mother," in the chorus of the tormenting furies, literally freezes the blood. It belongs only to the loftiest order of human genius to produce such a work as even this one scene. This brings the second act nearly to a close, and with it Mr. Howard Glover's selection. We will not, therefore, at present further follow the work ; suffice it to say that there are two more acts, which are in all respects equal to those to which we have adverted, but which would probably have rendered the performance too protracted for a concert room. Of the performances of Mr. Howard Glover's pupils we are enabled to speak in most favourable and encouraging terms. They have made much legitimate progress since last we heard them, and we have little doubt that many among them will ultimately reach a high position in the profession they have chosen. Miss Ellen Rowland's interpretation of the difficult music of Iphigenia was characterised by a fervour of expression and intelligence of gesture which augur favourably for her future dramatic excellence. We would, however, caution her against forcing her voice too much, as she has sufficient power without indulging in superfluous energy. Her reading of the "Dream," and the scene and air by which it is followed, was highly creditable both to herself and her instructor. Mr. Delavanti's performance of the fine music of Orestes was vigorous and correct. His high baritone voice is peculiarly adapted to this music, and came out occasionally with great power. We would counsel, however, assiduous study to acquire a purer method of producing his voice. Mr. W. Payne (Pylades) has a tenor voice of great brilliancy, and with the aid of careful training cannot fail to become one of our best singers. The Iphigenia was followed by a miscellaneous selection, in which the " pupils" were assisted by Miss Rainforth, Mr. Lindsay Sloper, Mr. Leffler, Mr. Thomas, and Mr. Gerhard Taylor. The second part opened with a concerted piece from a MS. opera composed by Mr. Howard Glover; it is admirably written, and the voices skilfully distributed. It was extremely well executed by Miss Julia Bleaden, who has a sweet and flexible soprano voice, which she uses with much taste and discrimination, Messrs. Day, Delavanti, and the entire academy. The other points chiefly worthy of remark were a duet by Mendelssohn, "I would that my love," charmingly sung by Mrs. Howard Glover and her sister Miss Emily Macnamara, which obtained a vociferous encore. Mrs Howard Glover afterwards sang a song composed by her husband, "Swifter far," with feeling and expression. Mr. Lindsay Sloper performed a lieder of Mendelssohn, and a caprice of Stephen Heller, with beauty of expression and elegance of touch. His refinement and absence of physical effort adds to his exquisite style. Lindsay Sloper, despite the "tight rope school" of modern pianism, has secured a reputation which places him in the foremost rank of the greatest European professors. He was enthusiastically applauded. Mr. E. W. Thomas performed a solo on the violin, by Vieuxtemps. This gentleman is scarcely so well known as he deserves to be, for he is assuredly one of our very best violinists. Miss Isabella Taylor (sister of the eminent harpist) sang " Non pia mesta." Her voice, a pure contralto, is rich and resonant, and her execution neat. The third part commenced with Wallace's popular trio, " Turn on, Old Time," excellently sung by Miss Taylor, Mr. Matts, and Mr. Myer. The latter gentleman has a tenor voice of charming quality. He quite took the audience by surprise, and the hearty encore awarded to the trio was chiefly owing to his admirable singing. We shall be glad to hear more of this gentleman. A word of praise is due to Mr. Henry Isaacs, for his delivery of Mozart's "Qui sdegno," and Miss Brooke, for her nice rendering of Loder's ballad, " I'll think with thee." The Misses Van Millingen sang Mendelssohn's lovely duet, "Soon, ah ! too soon," with charming expression and admirable ensemble. The concert was highly creditable to Mr. Howard Glover and his academy. (Morning Post, Wednesday, 20 December 1848)

Had we not, three weeks since, called attention to the concert of Mr. Howard Glover's Musical and Dramatic Pupils with anticipatory hopefulness, we should not now have recorded our utter disappointment in it - since school exhibitions should be handled mercifully; but being compelled to touch upon the subject, we must say that three or four pieces from the Iphigenia' of Gluck, followed by a miscellaneous selection of some twenty songs, duetts, concerted pieces, &c., were by no means what the first programme had led us to expect; - secondly, that Gluck's music demands, at least, an orchestral accompaniment; - and thirdly, that a Musical and Dramatic Academy should provide for verbal articulation : which provision hardly appears to have due place in Mr. Howard Glover's course of training. A graver cause of displeasure remains to be stated. The exhibition at the close of Act the First, we mean the catch-penny ballad from 'The Loan of a Lover,' screamed by an infant prodigy, was in every point of view discreditable. Our feelings regarding such miserable work in cases where the excuse is greatest, have not here to be propounded - but when it is tagged to an academical concert, tasteless vulgarity is added to the moral offence of the show. We are sorry to speak so severely of an entertainment from which we had hoped better things. Miss Rainforth's beautiful singing of Mendelssohn's 'Violet' (her voice freshened by its repose) and Mr. Lindsay Sloper's clever pianoforte playing were, to us, the attractions of the evening. (The Athenaeum, Saturday, 23 December 1848)

MR, HOWARD GLOVER'S CONCERT. MR. HOWARD GLOVER's Musical and Dramatic Academy Concert took place at the Hanover-square Rooms on Monday evening. The performances consisted of a selection from Gluck's classical opera Iphigenia in Tauris (first time in England) and a miscellaneous entertainment. The selection from the opera was undertaken by the pupils of the Musical and Dramatic Academy solely; in the miscellaneous concert Mr. Glover's pupils were assisted by Miss Rainforth, Mr. Gerhard Taylor, the Misses Van Millingen, Mr. Edward W. Thomas, Mr. Sharpe, and Mr. Lindsay Sloper. In the opera the parts were thus allotted : -Iphigenia, Miss Ellen Rowland; First Priestess, Miss Marie Mears; Second Priestess, Miss Isabella Taylor; Orestes, Mr. Delavanti; Pylades, Mr. W. Payne; Thoas, Mr. E. Day; High Priest, Mr. Henry Isaacs. The subordinate priestesses were entrusted to the Misses Emily Macnamara, Teresa Brooke, Van Millingen, H. Van Millingen, Mary Bland, Julia Bleaden, and Mrs. Howard Glover, late Miss Kate Macnamara. The Scythians were Messrs. Matts, Thorpe, and Myer. The selection from Gluck's opera was not calculated to give a very distinct notion of the genius of the celebrated composer, but it must be remembered that Mr. Glover provided no orchestra, and that, consequently, all the instrumental effects were lost. Nevertheless, we could not help feeling that there was an air of tedium over the music which would have endangered its performance even with the adjuncts of the stage. The long recitative which opened the selection is far too long for a concert-room, and although it was given with much energy by Miss Rowland, did not create a great impression. A cantabile, sung by Miss Marie Mears, as the First Priestess, was graceful and tender, but somewhat sombre. The young lady delivered it in an unpretending and effective manner. The best morceau of the selection was an aria with chorus, sung by Mr. Delavanti with considerable animation. This aria is bold and graphic, and at once impresses the hearer with its originality and beauty. The harmonies are in fine keeping with the subjects, and display that largeness and boldness for which Gluck is famous. The aria and chorus was loudly applauded. The performance of this section of the concert concluded with a chorus, sung by all the pupils. Between the first and second part, Miss Fanny Van Millingen, aged three, sang a popular comic ballad, accompanied on the piano by her sister, aged seven. The performance by the two children was received with great mirth and cheering, and was, considering their years, extraordinary. Part the second embraced a variety of pieces, among which we must notice in a most favorable manner various selections from Mr. Howard Glover's works published and unpublished. The first and most important of these was a concerted piece from a MS. Opera, in the interpretation of which the pupils participated. It is full of dramatic effects, and is written with the skill and tact of a musician, and pleased us so much as to make us desirous of hearing the opera from which it was extracted. The solos were capitally given by Miss Julia Bleaden, Mr. Delavanti, and Mr. Day. Miss Rainforth sang "The first Violet" of Mendelssohn, a delicious vocal gem, with admirable taste and feeling, and was encored. Mr. Lindsay Sloper accompanied her on the piano in the most admirable manner. Mr. Lindsay Sloper played two pieces, one from the Lieder ohne Worte of Mendelssohn, arranged by Liszt, the other, one of Stephen Heller's most charming fugitive compositions, called, "The Trout," founded on Schubert's La Truite. The first was interpreted with the most perfect expression and finish; the second was executed with exceeding brilliancy and neatness, and both were warmly applauded. Miss Isabella Taylor introduced the rondo finale from Cenerentola. This young lady has a singularly deep contralto voice, of good tone, and not devoid of power. Her singing of the rondo, however, was quite a mistake, and we feel some what surprised that Mr. Howard Glover should have ventured to entrust this very difficult piece to her inexperience. Miss Isabella Taylor's voice is not very flexible, nor does she vocalise with sufficient ease and skill to warrant her master in entrusting her with so brilliant a vocal essay as the "Non piu Mesta," the accomplishing of which can only be effected by the most gifted and perfect singers. We do not speak slightingly of Miss Isabella Taylor, far from it, but we would tenderly warn her from these ambitious ventures, at least until time have matured her powers and experience given her more confidence. Two morceaux from a MS. opera of Mr. Howard Glover - the one a bacchanalian song, sung by Mr. Leffler, the other an arietta, sung by Miss Julia Bleaden - were favorably received. Mr. Henry Isaacs gave a song of Mozart's with much endeavor, but not with all the effect the endeavor merited. He has a good-toned voice, which would not deteriorate in quality if he opened his mouth a little wider when he sang. Mendelssohn's beautiful duet, "I would that my love," was rendered with so much feeling by Mrs. Howard Glover and her sister, Miss Emily Macnamara, as to elicit a universal encore. We were much pleased with the efforts of the fair vocalists. "Voices from home" is a pleasing and popular ballad, written by Mr. Howard Glover, and, no doubt, known to most of our readers. It was delivered with a large degree of energy by Mr. W. Payne, and was very favorably received. The favorite trio, "My Lady, the Countess," from Cimarosa's Matrimonio Segreto, was excellently sung and acted by Miss Ellen Rowland, Miss Julia Bleaden, and Miss Isabella Taylor. In the animation, esprit, and verve shewn by the three fair vocalists we detected the teaching of Mrs. Glover, the greatest of all our comic actresses, and who really appears to have worked miracles with her pupils in the short time they have been submitted to her care. In every instance at the concert on Monday night we observed and noted the freedom and ease of deportment in the pupils, united to a slight dramatic display, which rendered their singing much more significant than if they had remained stock-still, according to the ordinary mode of concert singers. We are much pleased to have it in our power to offer our testimony in favor of the teaching of Mrs. Glover, who, we need hardly observe, has long been one of the brightest ornaments of the British stage. Spohr's "Bone Pastor" was decidedly the best performance of the evening by the young academicians. It was executed with firmness and precision, and the solos were nicely rendered by Miss Marie Mears. Mr. Edward W. Thomas performed a fantasia caprice of breadth and purity of tone and considerable mechanical skill. He was greatly applauded. Mrs. Howard Glover gave a song of her caro sposo, written to Shelley's exquisite lines, "Swifter far than summer's flight," and acquitted herself in a most praiseworthy manner, her delivery being earnest and impressive, and her style evidencing an onward move in the right direction. Mr. Delavanti sang a buffo song from a MS. opera of Mr. Glover, the Misses Van Millingen gave a duet of Mendelssohn's, and the second part concluded with the chorus from Loder's opera, the Night Dancers, "The Wills of the Night," performed by all the young ladies. We had well nigh forgot to mention Mr. Gerhard Taylor, who, during the course of the above part, played a "fantasia and brilliant variations de concert," as it was styled in the bills, on the harp. As a harpist, Mr. Gerhard Taylor appears to have an ambitious desire of achieving impossibilities. As impossibilities are not of easy achievement, it is not to be wondered at that Mr. Gerhard Taylor should sometimes fail, and that he should in his daring flights astonish more than please. Whatever opinion we may hold of Mr. Gerhard Taylor as a performer on the harp, if we were to judge of his talents as a composer by the "fantasia and brilliant variations" we heard on Monday evening, we should feel inclined to say that he would never expire of a plethora, superinduced by an excess of intellect. The "fantasia," in short, was nothing more or less than a lot of preludes strung together, and which the majority of the hearers for a long time thought was but the introduction to the theme. A more vapid and meaningless piece of music we have seldom listened to, and so the company seemed to think, for they appeared heartily tired of it before it was half over. We turn to a more pleasing subject. The third part of the concert was brief. It consisted of the favorite trio from Wallace's Maritana, "Turn on, old Time," sung by Miss Isabella Taylor and the Messrs. Delavanti and Myer; a solo on the pianoforte by Mr. Sharpe; Loder's song, "I'll think with thee," by Miss Theresa Brooke; the buffo duet from Cenerentola, by Messrs. Leffler and Delavanti; Fesca's song, "My love is like the red rose," charmingly sung by Miss Rainforth ; a song of Handel's, by Mr. Matts; the trio in the opening of the second act of Don Giovanni, by Miss Rowland, Mr. Henry Isaacs, and Mr. Delavanti; the whole terminating with an anthem of Mendelssohn's, for treble voices, by the young ladies of the Academy. On the whole, although the concert was too long, and although several of the pieces were beyond the capacity of the singers, the performance of Mr. Howard Glover's pupils afforded very general satisfaction. The auditor must be dull eared indeed, and the spectator dull-eyed, who could not perceive how much was effected for the pupils under the instructions of Mrs. Glover and Mr. Howard Glover. The institution has our good wishes; but the heads of the establishment must not expect their pupils to become Grisis, Albonis, Marios, or Tamburinis all at once. If it be possible to make first-rate artists by excellent instruction and careful teaching, then such we expect to see, ere long, issue from the Musical and Dramatic Academy. With respect to the pupils individually, we should select Miss Ellen Rowland and Miss Julia Bleaden among the ladies, and Mr. Delavanti among the gentlemen, as the most promising. Miss Isabella Taylor, as we said before, has a fine, powerful contralto voice, and much may yet be done with it; but she must forego for a while Rossini's music. Mr. Howard Glover, Mr. Lindsay Sloper, and Mr. Sharpe officiated as conductors, by turns. (The Musical world, Saturday, 23 December 1848)

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