Edmund Hugh Lindsay Sloper

? Edmund Hugh Lindsay Sloper - Concert Diary

Edmund Hugh Lindsay Sloper - Unforgotten

Lindsay Sloper
	Life Musical Works Concert Diary 1849

Concert Advertisements and Reviews - 1849.

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Monday, 22 January 1849 : Whittington Club's Grand Evening Concert (Second of the Series) at Whittington Club, 189, Strand.

THIS EVENING. - GRAND CONCERT at the WHITTINGTON CLUB, 189. Strand. (the second of the series.) - Miss Birch. Miss Bassano, Miss Ransford, Miss Rafter, Miss Stewart, Mrs. Noble. Mr. Burdini, Mr. Rafter, Mr. Frank Bodda, Mr. Lindsay Sloper, and Mr. F. B. Jewson. Programme:-First Part.-Glee, "The Curfew," Miss Stewart, Miss Ransford and Mr. Frank Bodda - Attwood. Duet. "La ci darem." Miss Birch and Mr. Frank Bodda - Mozart. Rode's Air with Variations. Miss Birch. Aria. "As I view," Mr. Frank Bodda - Bellini. Air Miss Ransford. ''Wake, sweetest Melody," - Mercadante. Song, "Sweet are the Dreams." Mr. Burdini -W. Maynard. Fantasia pianoforte, Mr. Lindsay Sloper - Mendelssohn. Air, "Where the Bee sucks," Miss Rafter - Arne. Ballad, "The Lily lies drooping," Miss Bassano -Val Morris. Scena, - "Ocean, thou mighty monster." Miss Stewart - Weber. Ballad, "Will you love me then as now ?" Miss Birch - Glover. Song, "The Dream," Mrs. Noble - Knight. Grand Trio, "My Lady the Countess," Miss Birch, Miss Rafter. and Miss Bassano - Cimarosa Second Part. - Quartett, "Alla Triniti." Song, "Auld Robin Grey." Miss Bassano. Fantasia, Pianoforte, Mr. F. B. Jewson - Thalberg. Duet, "The Singing Lesson," Miss Bassanno and Mr. Frank Bodda - Barnett. Song, "I love the merry sunshine," Miss Ransford - S. Glover. Aria, "The soldier tired," Miss Rafter - Arne. Song, "Look forth, my fairest," Mr. Burdini - Balfe. Scotch song, "The Piper o' Dundee," Miss Birch. Song, "England," Mr. Rafter - Hobbs. Laughing trio, "Vadasi via di qua" - Tutti. Admission, 2s., reserved seats, 3s. Tickets to be had of the Secretary, at the Institution, To commence at 8. (The Times, Monday, 22 January 1849)

Whittington Club Concerts. THE second concert of the series was given on Monday before a numerous audience, composed of the mem. bers of the institution and their friends. The vocalists were Misses Birch, Bassano, Ransford, Rafter and Mrs. Noble; Messrs. Burdini and Frank Bodda, and the concert was under the direction of Messrs. Lindsay Sloper and F. B. Jewson, who relieved the vocal portion of the entertainment by performances on the pianoforte. Mendelssohn's pretty duets, O wert thou and May Bells, which were given for the first time at one of the recent concerts of the Society of British Musicians, were sung with much purity by the same vocalists, Miss Stewart and Mrs. Noble. Miss Stewart also threw considerable power into Weber's scenes from Oberon, Ocean, thou mighty monster, and Mrs. Noble was encored in Knight's pretty ballad, The Dream. Miss Birch executed the variations in Rode's air, Al dolce Canto, with consummate skill, and had to repeat them. Miss Rafter, who has recently made her Mitt at the Princess's Theatre, carried the audience completely with her by the extreme vivacity she threw into the air, Where the Bee sucks. Her smile when uttering the words Merrily, merrily, shall I live now was so perfectly happy that it communicated itself to every person in the room. This young lady's share in the trio,"My lady, the Countess," with Misses Birch and Bassano, should not be passed over without notice. Whilst the two latter preserved all the conventionalities of the concert-room, and carefully avoided imparting to the music the spirit which alone could make it intelligible, Miss Rafter gave a more dramatic tone to her part; and when she had to tell the young ladies, in their assumed characters of Carolina and Fidabila, that she despised them, and, paraphrasing Mrs. Gamp, protested that she would not endure it, she certainly suited her actions to her words. We were rather glad to witness this departure from the orthodox style of singing dramatic music. (Atlas, Saturday, 27 January 1849) (Also: Atlas, Saturday, 27 January 1849.)

Wednesday, 25 April 1849 : Mr. Willy's Second Wednesday Concert at Exeter Hall.

The TWENTY-SECOND CONCERT, being the last but one of the season, will be held on the Evening of WEDNESDAY next, April 25, 1849, and will be for the BENEFIT of Mr. WILLY. Vocal Performers- Miss Lucombe, Miss A. Williams, Miss Dolby, Miss M. Williams, Miss E. Lyon, and Mrs. Alexander Newton ; Mr. Whitworth, Mr. Allan Irving, Mr. T. Williams, Mr. Binge, and Mr. Sims Reeves, who will sing, among other music, for the last time this season, Braham's celebrated scena, " The Death of Nelson." Pianists- Miss Ellen Day and Mr. Lindsay Sloper. Solo, Violin, Mr. Willy. The programme will commence with a selection from Beethoven's Opera, " Fidelio."- Tickets, 1s. and 2s. Reserved Seats, 4s. Stalls, 7s. May be had of Mr. Willy, 52, Trigon-terrace, Kennington; of all Musicsellers ; and of Mr. Stammers, 4, Exeter Hall. (Morning Post, Thursday, 19 April 1849) (Also: Morning Advertiser, Thursday, 19 April 1849.)

EXETER HALL.- WEDNESDAY CONCERTS. The TWENTY SECOND CONCERT, being the last but one of the season, will be held an WEDNESDAY EVENING next, April 25, and will be for the BENEFIT of Mr. WILLY. Vocal performers: Miss Lucombe, Miss A. Williams, Miss Dalby, Miss M. Williams, Miss E. Lynn; Mr. Whitworth, Mr. T. Williams, Mr. Binge, and Mr. Sims Reeves, who will sing, among other music, far the last time this season, Braham's celebrated scena, "The Death of Nelson." Pianists, Miss Ellen Day and Mr. Lindsey Sloper; solo violin, Mr. Willy. The programme will commence with a selection from Beethoven's opera, "Fidelio." Tickets, Is. and 2s.; reserved seats, 4s.; stalls, 7s.; may be had of Mr. WILLY, 22, Trigon-terrace, Kennington; of all musicsellers; and of Mr. STAMMERS, 4 Exeter-hall. (Morning Chronicle (1801), Thursday, 19 April 1849) (Also: Morning Chronicle (1801), Thursday, 19 April 1849; Morning Chronicle (1801), Tuesday, 24 April 1849; Daily News, Tuesday, 24 April 1849; Morning Chronicle (1801), Monday, 23 April 1849; Morning Chronicle (1801), Monday, 23 April 1849; Morning Chronicle (1801), Monday, 23 April 1849; Daily News, Monday, 23 April 1849; Morning Post, Saturday, 21 April 1849; Morning Post, Friday, 20 April 1849; Morning Chronicle (1801), Thursday, 19 April 1849; Daily News, Thursday, 19 April 1849; Daily News, Saturday, 21 April 1849.)

EXETER HALL. WEDNESDAY CONCERTS. THE TWENTY.SECOND CONCERT (Being the LAST BUT ONE of the Season) will be held on the evening of WEDNESDAY NEXT, APRIL 25th, and will be for the BENEFIT OF MR. WILLY. VOCAL PERFORMERS: Miss Lacombe, Miss A. Williams, Miss Dolby, Miss M. Williams, AND Miss E. Lyon. Mr. Whitworth, Mr. Irving, Mr. T. Williams, Mr. Binge, AND Mr. Sims REEVES. (Who will sing, among other music, for the last time this Season, BRAHAM'S celebrated scena, "The Death of Napoleon." Pianists, Miss Ellen Day and Mr. Lindsay Sloper. solo, violin, Mr. Willy. The Programme will commence with a Selection from BEETHOVEN'S Opera, Fidelio. Tickets 1s. and 2s. ; Reserved Seats, 4s.; Stalls, 7s. ; may be had of Mr. WILLY, 22, Trigon Terrace, Kennington; of all Musicsellers; and of Mr. STAMMERS, 4, Exeter Hall. (The Musical world, Saturday, 21 April 1849)

EXETER HALL.- WEDNESDAY CONCERTS. To-morrow EVENING (Wednesday) April 25, will be held the TWENTY-SECOND CONCERT, being the last but one of the season, and will be for the BENEFIT of Mr. WILLY. Vocal Performers - Miss Lucombe, Miss Dolby, Miss Poole, Misses A. and M. Williams, and Miss Ellen Lyon: Mr Whitworth, Mr. T. Williams, Mr. J. Hinge, and Mr. Sims Reeves, who will sing, for the last time this season, Braham's celebrated scena, " The Death of Nelson;" Beethoven's Cantata. "Adelaida;" and old song, " O, Nanny, wilt thou gang with me." Pianists - Miss Ellen Day and Mr. Lindsay Sloper. Solo, Violin, Mr. Willy. The programme will commence with a selection from Beethoven's Opera, "Fidelio." Tickets, 1s. and 2s. Reserved Seats, 4s. Stalls, 7s. May be had of Mr. Willy, 22 Trigon-terrace, Kennington ; of all Musicsellers and of Mr. Stammers, 4, Exeter Hall. (Morning Post, Tuesday, 24 April 1849) (Also: Morning Chronicle (1801), Tuesday, 24 April 1849; Morning Chronicle (1801), Wednesday, 25 April 1849; Morning Post, Wednesday, 25 April 1849.)

The Concert at Exeter-Hall, on Wednesday, was for the benefit of Mr. Willy, the leader of the band. Miss Ellen Day and Mr. Lindsay Sloper were the pianists; and Misses Lucombe, A, and M. Williams, Dolby, E. Lyon, and Messrs. Whitworth, Allan Irving, T. Williams and Binge, the vocalists. (Illustrated London News, Saturday, 28 April 1849)

Thursday, 26 April 1849 : The Melodists' Club's Meeting at Freemasons' Tavern, Great Queen-Street.

The Melodists.- His Royal Highness the Duke of Cambridge, patron of the Melodists' Club, having signified his intention to honour the meeting on the 26th instant with his presence, the following eminent artists have been invited on the occasion :- Herr Ernst, Lindsay Sloper, and Mr. Benedict, besides a host of vocalists. (Morning Post, Tuesday, 17 April 1849)

THE MELODISTS. -- His Royal Highness the Duke of Cambridge, patron of the Melodists' Club, having signified his intention to honour the meeting on the 26th instant with his presence, the following eminent artists have been invited on the occasion :-Herr Ernst, Lindsay Sloper, and Mr. Benedict, besides a host of vocalists. (The Lady's Newspaper & Pictorial Times, Saturday, 21 April 1849)

MUSICAL MEMORANDA…and the fourth meeting of the Melodists' Club to which Ernst, Benedict, and Lindsay Sloper have been invited, and it is expected that his Royal Highness the Duke of Cambridge will honour the club with his presence. (Morning Post, Monday, 23 April 1849)

MUSICAL MEMORANDA. The Melodists. - Lord Saltoun presided at the fourth meeting of the Melodists' Club, vice the Duke of Cambridge, who was not well enough to attend. A numerous party dined, and afterwards enjoyed a musical treat of the highest order. Mr. Benedict and Mr. Lindsay Sloper performed a brilliant duet on the pianoforte, in a manner that elicited the most rapturous applause of the delighted company and Herr Ernst gave one of his unrivalled solos on the violin, in which were combined taste, expression, artistic skill, and brilliancy of execution ; we scarcely need add that he was most rapturously applauded. Several fine glees were well sung, and Charles Braham gave his father's song, " The Death of Nelson," capitally, and he sang " My Boyhood's Love" with equal success. Mr. Handel Gear sang " The Mountain Maid;" and Mr. Leffler sung Handel's fine song, "Oh, ruddier than the cherry," with infinite spirit and effect ; the sparkling accompaniment to which was performed in a masterly manner by Mr. Benedict. The evening passed off most delightfully. Mr. King officiated for the honorary secretary, Mr. Parry, who was absent from indisposition. (Morning Post, Monday, 30 April 1849)

THE MELODISTS. - Lord Saltoun presided at the fourth meeting of the Melodists' Club, vice the Duke of Cambridge, who was not well enough to attend. A numerous party dined, and afterwards enjoyed a musical treat of the highest order. Mr. Benedict and Mr Lindsay Sloper performed a brilliant duet on the pianoforte, and Herr Ernst gave one of his unrivalled solos on the violin. Several fine glees were well sung, and Charles Braham gave his father's song " The Death of Nelson," capitally, and he sang "My Boyhood's Love" with equal success. Mr. Handel Gear sang "The Mountain Maid ;" and Mr. Leffler sung Handel's fine song, "Oh, ruddier than the cherry," with spirit and effect. The evening passed off most delightfully. Mr. King officiated for the honorary secretary, Mr. Parry, who was absent from indisposition. (The Satirist; or Censor of the Times, Saturday, 5 May 1849)

Tuesday, 8 May 1849 : Miss Dolby and Mr. Lindsay Sloper's Annual Grand Morning Concert at Hanover-Square Rooms.

MISS DOLBY and Mr. LINDSAY SLOPER'S ANNUAL GRAND MORNING CONCERT, at the Hanover-square Rooms, on TUESDAY next, May 8, to commence at Three o'clock. Vocalists: - Miss Lucombe, Miss Dolby; Mr. Sims Reeves, and Mr. Whitworth. Instrumentalists :- Herr Joachim (his first appearance this season) and Mr. Lindsay Sloper. The orchestra will be complete. Leader, Mr. Willy; Conductor, Mr. W. S. Bennett. Tickets, 7s. each, may be had of the principal Musicsellers; Stalls, 10s. 6d. each, only of Messrs. Cramer and Co., 201, Regent-street. (Morning Post, Thursday, 3 May 1849) (Also: Daily News, Thursday, 3 May 1849; Atlas, Saturday, 5 May 1849; Morning Post, Saturday, 5 May 1849; The Musical world, Saturday, 5 May 1849.)

MISS DOLBY and MR. LINDSAY SLOPER'S ANNUAL GRAND MORNING CONCERT, at the Hanover-square Rooms, on TUESDAY NEXT, May 8; to commence at three o'clock. Vocalists:- Miss Lucombe, Miss Dolby; Mr. Sims Reeves, and Mr. Whitworth. Instrumentalists: Herr Joachim (his first appearance this season), and Mr. Lindsay Sloper. The orchestra will be complete. Leader, Mr. Willy; conductor, Mr. W. S. Bennett. Tickets, 7s. each, may be had of the principal musicsellers; stalls 10s. 6d. each, only of Messrs. Cramer and Co., 201, Regent-street. (John Bull, Saturday, 5 May 1849) (Also: John Bull, Saturday, 5 May 1849.)

On Tuesday will be the concert of Miss Dolby and Mr. Lindsay Sloper. (Illustrated London News, Saturday, 5 May 1849)

MISS DOLBY AND MR. LINDSAY SLOPER'S ANNUAL GRAND MORNING CONCERT, at the Hanover Square Rooms, on TUESDAY next, May 8. to commence at Three o'clock. Vocalists:- Miss Lucombe, Miss Dolby; Mr. Sims Reeves and Mr. Whitworth. Instrumentalists: Herr Joachim (his first appearance this season) and Mr. Lindsay Sloper. The Orchestra will be complete. Leader, Mr. Willy; Conductor. Mr. W. S. Bennett, Tickets. 7s. each, may be had of the principal Music-sellers; stalls, 10s. 6d. each, only of Messrs. Cramer & Co., 201, Regent Street. (The Athenaeum, Saturday, 5 May 1849)

The annual concert of Mr. Lindsay Sloper and Miss Dolby will take place at the Hanover-square Rooms on Tuesday. We need hardly add that the programme is excellent; the well earned reputation of these accomplished artists is sufficient warrant for the excellence of the entertainment. (Morning Post, Monday, 7 May 1849)

MISS DOLBY and Mr. LINDSAY SLOPER'S ANNUAL GRAND MORNING CONCERT, at the Hanover-square Rooms, THIS DAY, May 8, to commence at Three o'clock. Vocalists: - Miss Lucombe, Miss Dolby; Mr. Sims Reeves, and Mr. Whitworth. Instrumentalists :- Herr Joachim (his first appearance this season) and Mr. Lindsay Sloper. The orchestra will be complete. Leader, Mr. Willy; Conductor, Mr. W. S. Bennett. Tickets, 7s. each, may be had of the principal Musicsellers; Stalls, 10s. 6d. each, only of Messrs. Cramer and Co., 201, Regent-street. (Morning Post, Tuesday, 8 May 1849)

HANOVER SQUARE ROOMS. The annual grand morning concert of Miss Dolby and Mr. Lindsay Sloper took place yesterday morning. The talents of these distinguished artists are now so well known and appreciated by the public, that any present praise would be supererogatory. Miss Dolby has secured a reputation for the perfect rendering of music of the best class ; and her delicious voice, intelligent phrasing, and appreciation of the poetry place her incontestably as one of our very best vocalists. The pianoforte playing of Mr. Lindsay Sloper is chiefly characterised by its refinement, its equality of tone, its absence of exaggeration, its charming facility, and delicacy of execution. He merits, besides, great commendation for never sacrificing the true intention of pianism to exhibitions of pseudo-marvels and absurd effects. His reading of Mozart's lovely concerto in C minor evolved all the beauty of his touch and his perfect knowledge of the author. He also performed Mendelssohn's rondo brilliante in E flat major with exceeding brilliancy and finish. Miss Dolby sang the fine aria from Zelmira (Rossini), "Ciel pieteso," with purity of tone and charming expression ; a song of Mendelssohn's, " Auf dem Wasser," a delicious subject; and a song of Moscheles, "Voglein, wohin so schnell ?" a quaint melody, beautifully written. Besides these she gave "The Blind Flower-girl's Song," composed by W. H. Holmes, of which we gave a commendatory notice on the occasion of the annual festival of the Royal Society; and a graceful song, "Dear is my little native vale," from the pen of Mr. Lindsay Sloper-it will become, or we are greatly deceived, exceedingly popular. Mr. Sims Reeves and Miss Lucombe sang a duet from Spohr's opera of Jessonda, with admirable effect. We have seldom heard the "Adelaida" sung with so great intensity and brilliancy of tone as it was on the present occasion by Sims Reeves. He was enthusiastically applauded. The novel feature of the concert was the first appearance this season of Joachim, the violinist. His performance of Spohr's "Scena Cantante" was transcendently great-his tone is dear and silvery-his intonation uniformly just, and the most extraordinary difficulties are achieved with a facility that seems akin to the marvellous. There ought to be no two opinions that Joachim is the greatest living violinist. His reception was genial, and the applause spontaneous as it was universal. The overtures, which were played with excellent ensemble, under the leadership of Mr. Willy, were Cherubini's Faniska, and W. S. Bennett's The Wood Nymphs. Mr. Sterndale Bennett conducted. The room was crowded. (Morning Post, Wednesday, 9 May 1849)

Miss Dolby and Mr. Lindsay Sloper. - The annual concert of these excellent artists, of which a notice was omitted yesterday, in consequence of the crowded state of our Parliamentary columns, presented it usual classical attractions, and was attended by a brilliant and overflowing audience. Miss Dolby sang with her accustomed taste and musicianlike ability, and in a bravura air from Rossini's Zelmira, two lieder by Mendelssohn and Moscheles, and songs by W. H. Holmes and Lindsay Sloper, exhibited to great advantage her equal command of the Italian, German, and English schools of vocalization. Mr. Lindsay Sloper played Mozart's concerto in C minor, and Mendelssohn's Rondo Brillante in E flat, for the pianoforte and full orchestra, displaying in both these fine and rarely-heard compositions the finished execution and classical expression for which he is eminent. Another great attraction was the first appearance this season of the accomplished and admirable violinist, Joseph Joachim, who performed Spohr's Scena Cantanta in A minor, accompanied by the orchestra, in magnificent style. The other vocalists were Miss Lucombe, Messrs. Sims Reeves and Whitworth, Mr. Sterndale Bennett conducted the orchestra, and accompanied several of the vocal pieces, his poetical and masterly overture to The Wood Nymphs being one of the great features of the programme. The band was that of Mr. Willy who presided as leader with his usual ability. The concert gave unanimous satisfaction. (The Times, Thursday, 10 May 1849)

Miss Dolby and Mr. Lindsay Sloper.-The annual concert of these excellent artists on Tuesday presented its usual classical attractions, and was attended by a brilliant and overflowing audience. Miss Dolby sang with her accustomed taste and musicianlike ability, and in a bravura air from Rossini's Zelmira, two lieder by Mendelssohn and Moscheles, and songs by W. H. Holmes and Lindsay Sloper, exhibited to great advantage her equal command of the Italian, German, and English schools of vocalisation. (Salisbury and Winchester Journal, Saturday, 12 May 1849) (Also: Salisbury and Winchester Journal, Saturday, 12 May 1849.)

MISS DOLBY AND Mr. LINDSAY SLOPER. - QUEEN'S CONCERT-ROOMS, HANOVER-SQUARE. - We attended a morning concert at the above rooms on Tuesday, given for the benefit of Miss Dolby and Mr. Lindsay Sloper. They called it in their bills their "Annual grand morning concert;" and, both as to programme and audience, it was grand indeed. The large room was completely full. After Cherubini's overture ("Faniska ") Miss Lucombe and Mr. Sims Reeves sang Spohr's duetto ("Jessonda") in first-rate style; as did the same lady an air from Donizetti's "Lucia" ("Regnava nel silenzio.") Mr. Sims Reeves sang also Gluck's aria, "Che faro," with great effect. Miss Dolby's aria of "Ciel pietoso," by Rossini, and an English song, the music by W. H. Holmes, called "The Blind Flower Girl." The latter, especially, was loudly and deservedly applauded. The song is, in truth, very pretty, though somewhat overlaid in poetical expression. The first verse runs thus:- "THE BLIND FLOWER GIRL'S SONG. " Buy my flowers - O buy, I pray, The blind girl comes from afar; If the earth be as fair as I hear them say, These flowers her children are ! Do they her beauty keep? They are fresh from her lap, I know; For I caught them fast asleep, In her arms an hour ago, With air, which is her breath - Her soft and delicate breath - Over them murmuring low ! On their lips her sweet kiss lingers yet, And their cheeks with her tender tears are wet. For she weeps -that gentle mother weeps (As morn and night her watch she keeps, With a yearning heart and a passionate care), To see the young things grow so fair; She weeps - for love she weeps, And the dews are the tears she weeps, From the well of a mother's love ! " Mr. Whitworth sang one of Rossini's arias, from "Semiramide," with his usual success. Mr. Lindsay Sloper gave a concerto and a rondo brillante on the pianoforte excellently. Herr Joachim quite astonished us, on the violin, in a scena cantante, by Spohr. In fact, the concert was, in every respect, first rate. 'Tis rather strange - but there seemed to be a sleepiness evinced by the audience which we can only account for, inasmuch as morning-concert audiences want the hilarity and joyousness of an evening meeting. (The Lady's Newspaper & Pictorial Times, Saturday, 12 May 1849)

On Tuesday Miss Dolby and Mr. Lindsay Sloper gave their Annual Morning Concert at the Hanover-square Rooms. Mr. Sloper performed Mozart's pianoforte concerto in C minor with classic perception of the composer's intentions, and with a delicate touch and refined style. The rondo brillante in E flat major of Mendelssohn was also nicely executed by the clever pianist. Herr Joachim, who, as boy violinist, excited such a sensation in the musical circles, has returned most excellent executant. He performed Spohr's " Scena Cantante" with the finest effect. He was warmly welcomed and immensely applauded. Mr. Sterndale Bennett was the conductor, and, and Mr. Willy the leader of a band, which played Cherubini's "Faniska" and Mr. Bennett's "Wood Nymphs" Miss Dolby sang Mr. W. H. Holmes's beautiful scena of the Blind Flower-Girl" exquisitely, and she also sang songs by sang songs by Mendelssohn, Rossini, and Mr. Sloper in charming style. Mrs Lucombe and Mr and Mr. Reeves were the other leading singers. (Illustrated London News, Saturday, 12 May 1849)

On Tuesday Miss Dolby and Mr. Lindsay Sloper gave their concert. The lady sang the grand contralto scena from 'Zelmira' (why do none of the opera-managers in agonies for novelty think of 'Zelmira'?), a Romance by Mendelssohn, and a charming lied by Moscheles, beautifully - also two English Songs. Mr. Sloper played twice, his first piece being Mozart's Concerto in C minor. M. Oulibicheff will never forgive us for calling the first two movements of this work utterly antiquated - but antiquated they are, if the word has any applicability. Given on a pianoforte and with an orchestra of our time, the meagreness and mechanical structure of the composition are beyond the power of being disguised by even Mr. John Cramer's* grace as he loved to administer it to Mozart. Tuneable as are the melodies, they are not so fresh as to carry off the formality and conventionalism with which they are mixed up. - The second piece chosen by Mr. Sloper was Mendelssohn's concert Rondo in E flat; a movement little less brilliant than the finale of Weber's Concert Stück, demanding that union of force with extreme vivacity of finger which none possessed in like degree with the composer. But few living pianists could have given the work better than Mr. Sloper. His cadence, too, to the Concerto of Mozart was at once cleverly and solidly fancied. The violin-playing of young Herr Joachim was among the greatest attractions of this well-composed concert. As regards mastery of his instrument he has nothing to learn; his tone is magnificent - his execution beautifully measured. His reading of Spohr's scena cantante was broad, dignified and expressive. He plays with a care which bespeaks youth, so rarely is it maintained in afterlife unless the exhibiting artist be strong enough to avoid becoming satiated with success and perpetual intercourse with music. But in another and contrary respect Joachim's playing is healthily young:- because the last touch is wanting to it, that fire and individuality which, when they do come, come all the brighter and keener for having been awhile deferred. Precocious self assertion is apt to merge into mature imbecility or exhaustion - or to be exaggerated into a yet more diseased eccentricity. We have a right to look to Joachim as to one of the pillars of German music when the vexed waters of civil discord shall have subsided; since his progress is at once more than could have been expected - and not more than those like ourselves (suspicious of prodigies) could desire. Miss Lucombe, Mr. Sims Reeves and Mr. Whitworth assisted Miss Dolby most skilfully, - and Mr. Willy's band played Mr. W. S. Bennett's overture to 'The Wood Nymphs' with great nicety. * The amount of such ministration was too curiously large to be passed over. When M. Liszt played octaves for single notes, &c., during his visit to England, and was roundly abused by the inconsistent for so doing, we appealed to Mr. Cramer's known manner of performance as a warrant that such exercise of discretion was in some quarters warranted for "classical." Turning a day or two since for reference to Mr. Cramer's published edition of this very Pianoforte Concerto, we find the slow movement from beginning to end decked with the daintiest filagree-work, but never a sign or indication to explain what the original text may be-and what is the gloss thereupon. (The Athenaeum, Saturday, 12 May 1849)

MISS DOLBY AND MR. LINDSAY SLOPER. THE annual concert of these well known artists took place on Tuesday afternoon, at the Hanover Square Rooms, and was attended by a brilliant and overflowing audience. The programme, as usual, was almost entirely devoted to music of a refined and classical character. There was a numerous and highly efficient orchestra, led by Mr. Willy and conducted by Mr. Sterndale Bennett, which opened the concert with a spirited and effective performance of Cherubini's overture to Faniska, - one of the least known and at the same time one of the most original and masterly works of the composer. After the beautiful duet from Spohr's Jessonda, "Dearest let thy footsteps follow," which was very well executed by Miss Lucombe and Mr. Sims Reeves, Miss Dolby, whose appearance was the signal for the loudest applause, sang the aria, "Ciel pietoso," from Rossini's Zelmira, evincing, by the emphatic manner in which she declaimed the recitative, and the facility and grace with which she accomplished the florid passages and cadences of the rondo, a perfect familiarity with the Italian school of vocalisation. Miss Dolby's next effort, though less ambitious as a vocal display, was more interesting as a musical performance. The little song, "Auf dem wasser," (a kind of serenade,) which Mendelssohn wrote with his own hand in her album, is one of the most charming effusions of the leisure moments of that great musician; and the air, "Voglein, wohin so schnell ?" also a manuscript song, written for Miss Dolby by Moscheles, is a worthy companion, the plaintive character of the first contrasting very agreeably with the sparkling gaiety of the last. Both of these gems were sung by Miss Dolby with exquisite feeling. In the second part she introduced, "The blind flower girl's song," a scena by W. H. Holmes, of which we gave a most favorable account in a recent article, and which discloses new beauties on a closer familiarity. Miss Dolby's last performance was a very pretty song, with a graceful and neatly finished accompaniment, by Mr. Lindsay Sloper, called "Dear is my little native vale," which was received with great applause, a compliment fairly divided between the music and the singer. Mr. Lindsay Sloper played twice during the concert. In addition to being one of the most eminent pianists of the present day, this gentleman is a composer of distinguished merit, but, though at his own concert, he modestly refrained from introducing his own music, preferring to exhibit his abilities in the classical works of Mozart and Mendelssohn. In the first part Mr. Sloper performed Mozart's concerto in C minor, one of the most elaborate and splendid compositions of that brilliant genius, which was the more acceptable from its being so rarely produced in public. We believe, with the exception of the celebrated John Cramer, and our own admirable pianist, Sterndale Bennett (who played it two or three years ago, at the Philharmonic) no one has attempted to introduce this concerto for many years. As Mr. John Cramer (who is looking as hale and hearty as twenty years ago) was among the audience, and Mr. Bennett was turning over the leaves of the concerto, in his capacity of director of the concert, Mr. Sloper's position might well be regarded as a nervous one; but thoroughly acquainted with his task, and entering with enthusiasm into the innumerable beauties of the work, he came most honorably out of the ordeal ; his performance was masterly in every respect; the pianoforte (one of the most recent of Broadwood's manufacture) was one of the finest instruments we have ever heard, combining mellowness of tone and brilliancy in the happiest manner, and contrasting beautifully with the wind instruments which Mozart has so lavishly and felicitously employed in the andante and finale. Mr. Sloper's second performance was the Rondo Brillante in E flat, for pianoforte and orchestra, one of Mendelssohn's early works, in which the salient qualities of his very original style are most characteristically displayed. This rondo was composed by Mendelssohn during his first visit to England, nearly 20 years ago, and was executed by the author at one of the monster concerts of the late enterprising Mr. Mori. Since then it has been seldom performed in public, which gave additional interest to Mr. Sloper's performance - one in all respects worthy of the work, uniting the utmost perfection of executive skill to unexceptionable taste and effective variety of expression. Mr. Sloper was loudly applauded both in the concerto and the rondo. A great feature in this excellent concert was the first appearance since 1847 of Joseph Joachim, one of the most accomplished and admirable violinists now living. Herr Joachim played the superb scena cantata in A minor, for violin and orchestra, of Spohr. His performance was throughout faultless, and excited the greatest enthusiasm. His tone, if possible, has acquired more richness, while his mechanism is as perfect, his intonation as unerring, and his style as classical and expressive as ever. The elaborate accompaniments to this difficult work were executed with wonderful delicacy and precision by Mr. Willy's orchestra, which every day advances in efficiency, and the performance was altogether one of unusual excellence. The other vocal pieces consisted of Beethoven's "Adelaida" very finely sung by Mr. Sims Reeves, accompanied on the pianoforte by Mr. Sterndale Bennett, and a couple of Italian airs, from Lucia and Semiramide, by Miss Lucombe and Mr. Whitworth, which, though exceedingly well sung, were found to be out of place in a concert of this exclusively classical order. Mr. Sterndale Bennett directed the orchestra and accompanied several of the vocal pieces on the pianoforte in his accustomed masterly manner, and one of the greatest treats of the whole concert was his own overture, the Wood Nymphs, which in the development of its clear and symmetrical design exhibits almost every kind of musical beauty, united to the highest poetical inspiration. This splendid work, which in Germany as well as in England, is ranked among the noblest of modern compositions for the concert-orchestra, was played with a delicacy, spirit, and precision, highly creditable to the band and its director, Mr. Willy. It was received with unanimous applause. We have rarely attended a concert which gave more decided and general satisfaction to a cultivated and really musical audience. (The Musical world, Saturday, 12 May 1849)

On Tuesday, Miss Dolby and Mr. Lindsay Sloper had the annual concert which these popular artists usually give in conjunction. (Spectator, Saturday, 12 May 1849)

Monday, 14 May 1849 : Philharmonic Society's Fifth Concert.

PHILHARMONIC SOCIETY. THE fifth concert took place on Monday evening. The programme presented some novelties of interest, as the following will show:- PART 1. Historical Symphony - Spohr. Aria - "Sorgete" (Maometto Secondo) Signor D. Coletti - Rossini. Concerto in E Flat, Op. 98, Harp, Mr. J. Balsir Chatterton - Parish Alvars. Aria - "Auf starkem Fittige schwinget," (Die Schoepfung) Madlle. Babnigg - Haydn. Overture - (Zauberflote) - Mozart. PART II. Sinfonia in A. No. 7 - Beethoven Romanza - "Glocklein im Thale " (Euryanthe) Madlle. Babnigg - C. M. von Weber. Concerto in A minor, No. 5, violin, Herr Molique - Molique. Aria - "Non Piu andrai " (Le Nozze di Figaro) Signor D. Coletti - Mozart. Overture - (Le Colporteur) Onslow. Conductor, Mr. Costa. Spohr's Historical Symphony is a very interesting composition [sic] per se, but does not successfully carry out its proposed intention, that of illustrating the progress of the art from the time of Sebastian Bach to the present epoch. Except the first movement, a short fugue and pastorale, which has some resemblance to the styles of Bach and Handel, the whole symphony is entirely in Spohr's own manner. It is true the themes are imitated from well-known subjects by Haydn, Mozart, Beethoven, and Auber; but with the themes the resemblance stops altogether. The symphony was very finely played by the band, Mr. Costa having rehearsed it with the utmost pains. Beethoven's gigantic work was never better played. The allegretto in A minor, one of the author's most original and expressive movements, was encored, and the scherzo was liked all the better for being played as Beethoven wrote it. Mr. Costa had judiciously restored all the repeats. The trio was given twice entire, according to the score (and according to the plan adopted by Beethoven in the scherzo of the B flat symphony, which has always been adhered to) and the movement appeared with all the largeness of its development untouched. Mr. Costa thereby rendered a stinging reproof to the goths, visigoths, and vandals who had originally curtailed it of its fair proportions, many of whom doubtless sat in the room, gnashing their teeth, and the audience approved of Mr. Costa's proceeding by their warmest applause. The overture to Zauberflöte, superbly played, was encored with acclamations. Onslow's clever but dry effusion, equally well played, produced no effect. Why not play the audience out with an English overture ? Any concession would be better than the obstinate apathy of the Philharmonic directors to their brother composers. If they object to give their own works, they might gracefully essay those of English musicians who are neither directors, nor members, nor associates. Edward Loder, Henry Smart, George Macfarren, Lindsay Sloper, John Barnett, W. H. Holmes, cum multis aliis, to wit. Mr. John Balsir Chatterton, acknowledged as the best performer on the harp in England, since the death of Parish Alvars, made a most triumphant début at the Philharmonic. His reception was warm and unanimous, and the same favor was worthily bestowed in his playing, which was in the highest degree brilliant and effective, excelling alike in fullness of tone, strength of finger, neatness of execution, and unexceptionable taste in the cantabile passages. The concerto in E flat, of Parish Alvars, is not the best of that admirable writer; nor was it improved by the curtailment of three parts of the first movement; still it was a treat to hear it so well played, and it was pleasant to know that the Philharmonic directors are compelled occasionally to introduce English music. The grand feature of the entire concert was decidedly the concerto in A minor of Molique, whose appearance in the orchestra was the signal for tumultuous applause from the whole room, joined by the entire body of instrumental performers, a just homage to high genius and personal worth. Molique's concerto is a chef-d'oeuvre from beginning to end. The symphonic form is displayed in all its grandeur of development, the orchestra is employed with admirable variety and taste, and the solo instrument provided for with masterly effect. The adagio in E major is one of Molique's most beautiful effusions, a perfect gem of melody and ingenious workmanship. The rondo finale is one of the most piquant, interesting, and cleverly written of the master's works. In this species of movement Molique yields to few. and in the present specimen he has surpassed himself. Molique's performance exhibited that classical repose, vigorous energy, and masterly facility, that have placed him in the first rank of European violinists. We never heard him play more uniformly well, or with greater and more sustained power. His tone and phrasing were delicious in the adagio, and in the finale the dexterity of his mechanism was marvellous. The applause at the end of each movement and during the progress of the concerto, at the termination of the various solos, was unanimous and enthusiastic. Although it came so late in the evening, the greatest attention was paid to the entire work. A more legitimate and complete success was never obtained. It is here the place to remark that Molique has intimated his intention of permanently remaining in this country - a good piece of news for all the amateurs of classical violin playing, for all the quartet societies, and indeed for all the lovers of music. The vocal music was not of the most interesting. Mdlle. Babnigg has a pleasing voice, but sings out of tune and with an exaggerated style. Sig. D. Coletti (brother of the celebrated barytone of Her Majesty's Theatre) has a good loud voice, and sings with animation. And there's an end. (The Musical world, Saturday, 19 May 1849)

Friday, 1 June 1849 : Mademoiselle Coulon's Annual Concert at Hanover-Square Rooms.

MADEMOISELLE COULON'S annual concert took place on Friday week at the Hanover Square Rooms. The fair pianist was assisted by Mdlle. Missen, Misses Deakin and Ransford, Herr Damcke, Signor Ciabatta, and Signor Teseo, vocalists; and Messrs. Rousselot, Deichmann, Sonnenberg, and Baumann, instrumentalists. Mdlle. Couloun performed in a new grand quintet by Rousselot, for piano, violin, violoncello, clarionet, and bassoon. The quintet is a composition of high merit, and reflects great credit on M. Rousselot's musical skill and feeling. It vas excellently played throughout, the pianoforte part, which involves considerable difficulties, being mastered with ease by the fair pianist. Mdlle. Coulon also played Thalberg's Masaniello Fantasia in a very brilliant and striking manner, and was greatly applauded. Other instrumental pieces, and a variety of vocal morceaux were given, which call for no particular remark. Mr. Lindsay Sloper and Mr. Benedict conducted. The rooms were fully and fashionably attended. (The Musical world, Saturday, 9 June 1849)

Friday, 22 June 1849 : Mr. Julius Benedict's Annual Concert (Morning) at Concert Room Of Her Majesty's Theatre.

MESDAMES Alboni, Parodi. Giuliani, Catherine Hayes, Jetty de Treffz. Vera, A. and M. Williams, Messrs Gardoni, Marras, Calzolari. Sims Reeves, Coletti, Belletti, Lablache and F. Lablache, Pischek, Formes, the Hungarian Vocalists, Lindsay Sloper, Molique, Ernst, Sainton. Joachim, Piatti, Botessini, Vivier, Cossman. Hausmann, will all perform at M. BENEDICT'S ANNUAL CONCERT, on FRIDAY MORNING. June 22, in the Concert Room of Her Majesty's Theatre. Boxes and Tickets at the principal Musicsellers, Libraries, and of M. Benedict, 2, Manchester-square. ERNST, MOLIQUE, JOACHIM, and SAINTON. These celebrated Artistes will perform for the first time together Maurer's Concertante for Four Violins.at M. BENEDICT'S ANNUAL CONCERT at the Great Concert Room of Her Majesty's Theatre, on FRIDAY MORNING, June 22. on which occasion the most eminent vocalists and instrumentalist will perform - Immediate application for the few remaining Stalls is respectfully solicited. Private Boxes and Reserved Seats at the principal Musicsellers and the Libraries, and of M. Benedict, 2, Manchester-square. (Morning Post, Friday, 8 June 1849) (Also: Morning Post, Monday, 11 June 1849; Morning Chronicle (1801), Monday, 11 June 1849; Morning Post, Thursday, 14 June 1849; Daily News, Thursday, 14 June 1849; Daily News, Monday, 11 June 1849; Morning Post, Saturday, 9 June 1849; Morning Post, Tuesday, 12 June 1849.)

MESDAMES Alboni, Parodi, Giuliani, Catherine Hayes, Jetty de Treffz, Vera, and M. Williams, Messrs. Gardoni, Marras, Calzolari, Sims Reeves, Coletti, Belletti, Lablache, F. Lablache, Pischek, Formes, the Hungarian Vocalists, Lindsay Sloper, Molique, Ernst, Sainton, Joachim, Piatti, Bottesini, Vivier, Cossmann, Hausmann, will all perform at M. BENEDICT'S ANNUAL CONCERT, on FRIDAY MORNING, June 22, in the CONCERT-ROOM of Her Majesty's Theatre. Boxes and Tickets at all the principal Music-sellers, Libraries, and of M. Benedict, 2, Manchester-square. (John Bull, Saturday, 9 June 1849) (Also: John Bull, Saturday, 9 June 1849; The Musical world, Saturday, 9 June 1849.)

BENEDICT'S ANNUAL CONCERT, FRIDAY, June 22 - Mesdames Alboni, Parodi, Giuliani, Catherine Hayes, Jetty de Treffz, Vera, A. and M. Williams, Messrs Gardoni, Marras, Calzolari, Sims Reeves, Coletti, Belletti, Lablache, and F. Lablache, Pischek, Formes, the Hungarian Vocalists, Hall, Lindsay Sloper, Molique, Ernst, Sainton, Joachim, Piatti, Bottesini, Vivier, Cossman, Hausmann, will all perform at M. BENEDICT'S ANNUAL CONCERT, on FRIDAY MORNING, June 22, in the Concert Room of Her Majesty's Theatre. Boxes and Tickets at the principal Musicsellers, Libraries, and of M. Benedict, 2, Manchester-square. (Morning Post, Wednesday, 13 June 1849)

HALLE, L. SLOPER, BENEDICT, and STERNDALE BENNETT will perform MOSCHELES' CONCERTIANTE for Two Pianos and Four performers at Mr. BENEDICT'S GRAND ANNUAL CONCERT, on Friday morning, June 22. Doors open at One o'clock precisely. Early application is respectfully solicited at the principal musicsellers; and of Mr. BENEDICT, 2, Manchester-square. (Morning Chronicle (1801), Saturday, 16 June 1849) (Also: Morning Post, Saturday, 16 June 1849.)

HALLE, L. SLOPER, BENEDICT, and STERN DALE BENNETT will perform Moscheles' Concertante for two Pianos and four Performers at Mr. BENEDICT'S GRAND ANNUAL CONCERT on FRIDAY MORNING next, June 22. Early application for the few remaining Stalls and Reserved seats is respectfully solicited at the principal Musicsellers, and of Mr. Benedict, 2, Manchester Square. (The Athenaeum, Saturday, 16 June 1849)

M. BENEDICT'S ANNUAL CONCERT, FRIDAY next - Doors open at One o'clock. - Mesdames Alboni, Parodi, Giuliani, Catherine Hayes, Jetty de Treffz, Vera, A. and M. Williams, Messrs Gardoni, Marras, Calzolari, Sims Reeves, Coletti, Belletti, Lablache, and F. Lablache, Pischek, Formes, the Hungarian Vocalists, Hall, Lindsay Sloper, Molique, Ernst, Sainton, Joachim, Piatti, Bottesini, Vivier, Cossman, Hausmann, will all perform at M. BENEDICT'S ANNUAL CONCERT, on FRIDAY MORNING next, June 22, in the Concert Room of Her Majesty's Theatre. The programme is now ready. Early application for the few remaining Private Boxes and Pit Tickets is solicited at the principal Musicsellers, Libraries, and of M. Benedict, 2, Manchester-square. (The Times, Monday, 18 June 1849) (Also: Daily News, Tuesday, 19 June 1849; Morning Post, Tuesday, 19 June 1849.)

Jules Benedict.- The annual concert of this highly popular composer, skillful performer, and fashionable teacher, takes place on Friday morning next, under the immediate patronage of her gracious Majesty the Queen, her Majesty the Queen Adelaide, his Royal Highness Prince Albert, the Duchess of Kent, the Duke and Duchess of Cambridge, and the elite of the fashionable world. The programme comprises selections from the works of all the great masters, and the very flower of the Italian and German artists now in the metropolis will appear ; and Sims Reeves and Miss Catherine Hayes are also secured The pianistes are the concert giver, Hallé, Lindsay Sloper, and Sterndale B Bennett ; the violinists- Molique, Sainton Joachim, and Ernst ; and the violoncellists- Piatti, Hausmann, and Cossman. A concentration of such rare excellence, perhaps, has never been before collected. (Morning Post, Wednesday, 20 June 1849)

MR. BENEDICT'S GRAND ANNUAL MORNING CONCERT AT HER MAJESTY'S THEATRE. - This concert, which is worthily esteemed the crowning "gem" of the musical season, came off yesterday afternoon. The programme was sufficiently ample, as may be gathered from the fact that at five o'clock (the concert began at two o'clock) the Haymarket, in its entire length, was lined with the carriages of the Illustrious and Noble who were present at this most attractive reunion. We need not say to Mr. Benedict, "Under what king, Bezonian ? Speak or die !" for his patronage is unequivocally regal. The Queen, the Prince Albert, the Queen Dowager, the Duchess of Kent, the Duke and Duchess of Cambridge, gave their immediate countenance to this concert; and they gave it to one who, more than most other professors, has laboured to improve and refine our musical tendencies. In himself he combines various and most admirable qualities; and, among others, two which in a general sense are adverse, viz., the power to communicate instruction, and the high faculty of original composition. And this is no slight praise; for even among men of ordinary talent, few who profess to teach do really instruct ! We have referred to the programme as offering a criterion of the concert; it contained the names of that second Pasta, Parodi, Giuliani, Jetty de Treffz, Catherine Hayes, Vera, the Williams's, and Alboni; and, of the rougher sex, Lablache, Pischek, Gardoni, Belletti, Herr Formes, Calzolari, Stigelli, F. Lablache, and Sims Reeves. The instrumental department was also rich in the names of Vivier, Bottesini, Sterndale Bennett, Lindsay Sloper, Hallé, Pilotti, Molique, Sainton, Joachim, Ernst, Piatti, Hausmann, Cossmann, and last, not least, the concert-giver. The Hungarian Vocalists, too, belonging to a branch of art that may be termed "aboriginal," were also present, and. "did their spiriting" marvellously. One great characteristic of this concert. was its uniformity of excellence, which leaves us at a loss with respect to individual eulogy, without seeming - and, indeed, being - invidious. Fortunately, the talents of the artistes are well known, and the music allotted to them is also familiar, with the exception of the "Volkslied" of De Treffz, the "Das Glocken Gelaute "' of Herr Formes, and two new and charming compositions by Mr. Benedict, the " Winter Mirth," sung by the Misses Williams, and the new ballad, "O do not scorn my love!" sung by Sims Reeves. It would be impossible adequately to describe the very crowded display of beauty and fashion, and therefore we will content ourselves with saying that, in all respects, this concert was, in artistic parlance, "a magnificent success." (The Lady's Newspaper & Pictorial Times, Saturday, 23 June 1849)

Mr. Benedict's Concert. This great musical entertainment took place yesterday in the concert room of Her Majesty's Theatre, which. was crowded by a brilliant and overflowing audience. As usual, Mr. Benedict had provided a programme of the utmost attraction, including the names of nearly all the vocal and instrumental artists of celebrity now in London. The principal fault to be found with this varied and excellent selection was that Mr. Benedict appeared so rarely himself, in his double capacity of composer and pianist, The only solo performance of the accomplished beneficiaire consisted of two short pieces of his own composition, an "Idylle," as it was styled in the bills, and a Galop Brillante. The former is neither more less than a flowing and melodious andante the form of a notturno, quite a model in its way and rendered doubly interesting by the finished style in which it was executed by Mr. Benedict, who, although he has never appeared at the Philharmonic concerts, is one of our most admirable resident pianists. The latter, a brilliant and animated morceau in the modern school full of mechanical difficulties, was equally well played, and both pieces encountered the warmest demonstrations of approval The other performance of Mr. Benedict was in a quartet for four performers on-two pianofortes, in which he was assisted by Messrs. Charles Hallé, Lindsay Sloper, and Sterndale Bennett, all pianists of the first class. The name of this composition, which is from the pen of the celebrated Moscheles, is les Contrastes, from which its design will be readily guessed. As a work of inspiration it presents no great claims to consideration, but as a vehicle for exhibiting to advantage the talents of four dexterous executants it is all that could be desired. The performance was excellent throughout; the obligato passage allotted to each pianist were given with striking decision and effect, and the ensemble was faultless. An interesting feature of the concert was a song, written by Mr. Benedict expressly for this occasion, for a contralto voice, with an obligato accompaniment for the horn. The melody is both graceful and original, and the manner in which the voice and instrument are combined shows the hand of a studied and tasteful musician. It is enough to mention the names of the executants to show how perfectly this new composition was rendered:- Mademoiselle Alboni sang the voice part and M. Vivier played the horn obligato, Mr Benedict himself presiding at the pianoforte; its reception was in the highest degree favourable. We must dismiss the remainder of the concert in as few words as possible. One of the grand instrumental points was Maurer's quartet for four violins, executed by Molique, Ernst, Joseph Joachim, and Sainton. Such a combination of first-rate violinists has very rarely been heard in a public concert, and while the ensemble was invariably perfect, there was an honourable rivalry for individual distinction in the solo obligato passages. The cadenza introduced was written by the well known violinist K. David, of Leipsic, especially for this quartet, and gave each of the performers an opportunity for displaying his taste and mechanical aptitude, The applause of the audience was bestowed upon all with equal liberality, and the palm of excellence was fairly divided among the four. The trio from Guillaume Tell arranged for three violoncellos, and executed by Piatti, Cosmann, and Hausmann, was also a performance of great interest. Perhaps more than all, however, the audience were gratified by Mr. Benedict's ballad, "Scenes of my youth" (from the opera of The Gypsy's Warning), performed on the horn, with exquisite feeling, by M. Vivier, and encored with the greatest enthusiasm. No singer could have given a more intelligent expression to the melody of this, one of the most beautiful of modern ballads. The remaining instrumental piece was a solo on the contrabasso, by Signor Bottesini, of whom we have spoken more than once. (The Times, Saturday, 23 June 1849)

Benedict, this season, has been indefatigable, as usual, in his exertions to render his annual concert the event of the season. He must have exercised of the diplomacy of Talleyrand to have combined Molique, Sainton, Joachim, and Ernst in Mozart's Concertante for four violins; and Hallé, Lindsay Sloper, Bennett, and himself, in a pianoforte quatuor; with Vivier, the horn player, Piatti, Hausman, and Cossman, the violoncellists and Bottesini, the contra-bassist; the German singers, Treffez, Formes, Pischek, Mdme Palm ; the Hungarian vocalists, and the artistes of Her Majesty's Theatre; and the addition of Miss Catherine Hayes, the Misses A. and M. Williams, Mdlle Vera, and Mr. Reeves. Mr. Benedict certainly has mounted a magnificent concert. (Illustrated London News, Saturday, 23 June 1849)

M. BENEDICT'S CONCERT.-This gentleman's Annual Concert took place on Friday, in the Great Concert-room of Her Majesty's Theatre. The sign that the season has reached its full maturity is the concert of M. Benedict. At this gigantic meeting are invariably assembled all the celebrities that have conferred lustre, by their talents, on the events of the current epoch. Few will grudge M. Benedict the brilliant success that seldom fails to crown his concert. The spirit and enterprise which mark his endeavours to amuse his patrons and the public, entitle him to all the support he receives. Independently of this, M. Benedict has fairly won a reputation that may be styled European, as a pianist, a composer, and a musician of general acquirements. His name, therefore, allied to the various and sterling attractions of his yearly entertainments, constitutes a tower of strength, and the most brilliant and fashionable is attracted to the Concert-room of Her Majesty's Theatre. The vocal programme was supported by the talent of Miss Catherine Hayes, Madame Giuliani, Mdlle. Parodi, Mdlle. Jetty de Treffz, Mdlle. Vera, Madame Palm, Mdlle. Alboni, and the Misses A and W. Williams; Herr Stigelli, Pischek, Signori Calzolari, Gardoni, Coletti, the two Lablaches, Belletti, Mr. Sims Reeves, and the Hungarian Vocalists. We can only mention a few of the morceaux that attracted most attention. The "Casta Diva" of Miss Catherine Hayes attracted much attention from the exquisite manner she interpreted this effusion of Bellini, she was equally efficient in a duet of Verdi's with Gardoni. Madame Giuliani, in the popular aria from Lombardi, " Non fa sogno," sang with great finish and effect. The Misses Williams, in a new duet, entitled "Winter Mirth," by the beneficiaire, acquitted themselves admirably. Herr Pischek, in two German songs, was much applauded. Mr. Sims Reeves, in a new ballad "O do not scorn my love," was received with great favour. Alboni, in the popular "Brindisi," from Lucrezia Borgia, and the well. known duet with the Lablache, "Oh, guardate che figura," titillated the risible muscles of the audience exceedingly. Jetty de Treffz, in one of Kulcken's Volklied, exemplified it in a most graceful manner. Herr Stigelli and Formes elicited loud and universal approbation. Calzolari, Belletti, &c., and the Hungarian Vocalists, sang several concerted pieces. The instrumental features of the programme were no less interesting. Moschelles' Les Contrastes, for four performers on two pianofortes, was ably interpreted by Messrs. Hallé, Lindsay Sloper, and Sterndale Bennett. M. Benedict played a galop brilliant, and a piece entitled "Idylle;" they are, we must confess, evident plagiarisms on two pieces of the same name and style, already published by the popular pianist, Jules Schulhoff. M. Benedict need not copy any other artist. Maurer's monotonous concertante, for four violins, was magnificently performed by Messrs. Molique, Sainton, Joachim, and Ernst. We confess we would rather have heard Ernst in one of his exquisite solos, than this performance by four such first-rate violinists. Signor Bottesini gave an exposition of double bass playing, by playing the Carnival of Venice, one of the most wonderful musical performances that has been heard in London this season. M. Vivier, a French horn player, who has been puffed into notice by his assenting to chords on his instrument, played Benedict's "Scenes of my youth." We have a dozen performers in London, who have both a better tone, and more legitimate execution, and who would be ashamed to assert such a piece of quackery, or depend on such means for a position in their art. A trio, arranged from Guillaume Tell, for three violoncellos, was remarkably clever, and well executed by Messrs. Piatti, Hausmann, and Cossmann. Messrs. Lindsay Sloper, Vera, Pilotti, and Benedict, officiated as accompanyists, and though there were between thirty and forty pieces in the programme, a very small portion of the company went away before the concert was ended. Several distinguished members of the aristocracy were present in the room, which was crowded to overflowing. (The Era, Sunday, 24 June 1849)

THE CONCERTS OF MONTH. MADAME DULCKEN'S, BENEDICT'S, JULLIEN'S, G. A. OSBORNE'S, AND WEDNESDAY CONCERTS. Music, as a popular recreation, may fairly be considered as dividing the field with the drama, and as making rapid strides towards further progress; whilst the stage, where it flourishes, is only standing still, and where otherwise, is ebbing fast. The concerts and other musical entertainments of the month have exceeded all precedent in frequency, magnitude, and excellence. We may assert, without any exaggeration, that not a day or evening has passed without some re-union of interest taking place. On the impossibility of doing justice to the claims of all our musical caterers we need not expatiate. Argus had his hundred eyes, and Briareus his hundred hands; but the critic has only one pair of ears ; and it is therefore obviously impossible for him to select for notice amid a hundred concerts any but those which are fairly entitled to be considered as exemplars to the others. Of these Madame Dulcken's is justly entitled to be considered as demanding a paramount degree of consideration for its superiority. This lady has for many years been recognised as one of the chief conservators of the musical world. Her acknowledged abilities as a pianiste have gained her the admiration of musicians ; and the good taste with which she seeks for excellence in all quarters, and introduces it to the amateurs of this country, have long since entitled her to the grateful feelings and support of our countrymen. To her introduction we are indebted for some of the most eminent artistes of the day, amongst whom may be specified M. Konski, the extraordinary violinist, who is doubtless destined to wear the mantle of Paganini. Her concerts are marked by invariable excellence in every department, and hence it is that they command so much consideration. Her last, given in Her Majesty's Theatre, commanded the usual brilliant attendance. Another concert during the month has presented the highest claims to attention - the annual one of M. Benedict, whose position and peculiar connection with the first vocalists, instrumentalists, and composers in Europe, and the important influence he has been invested with by all, places him in the position of being the magnate of the musical world. The event took place on the morning of the 22nd ult., at Her Majesty's Theatre, and afforded one of the richest treats we can remember, combining, as it did, the leading artistes in every department of music. To criticise the interpretation of each work comprised in the programme would be to fill a small volume, such were the elaborate beauties which presented themselves to the ear on each occasion; we shall consequently confine ourselves to a mere specification of the leading features. In the first place, the Hungarian Vocalists performed a number of their favourite pieces throughout the morning, and Lablache, Calzolari, Gardoni, and Belletti lent their powers, as did Herr Pischek, Herr Formes, and others of eminence. Catherine Hayes, Alboni, Parodi, Jetty de Treffz, and the Misses Williams, added to the powerful list, and drew encores at every effort; the last-named ladies introduced, for the first time, an entirely new duet, by M. Benedict, which succeeded so greatly that its future popularity is placed beyond the reach of doubt. The words, which we quote, are exceedingly pretty; they are entitled, WINTER MIRTH. Let the winter, grave and chill, Leaning from the leaden sky, Put a chain on every rill, Bidding all the sweet birds die. Shall we mourn for that ? - not we ! In the blaze that sparkles bright On the hearth the live-long night, We will carol merrily! Many a wondrous legend telling Of the mermaids in their caves, And their tuneful music welling Up amid the moaning waves ; Till we seem that strain to near - Half of pleasure, half of fear - And the storm is all forgot, And the gloom remembered not: Even thus may sorrow be Hid without - a foe unseen ! While young hope and joy within Laugh and carol merrily !" Signor Bottesini played Paganini's solo contra basso, "The Carnival of Venice," in the most finished style of excellence ; and then - a merveille - those four magnificent pianists, Hallé, Lindsay Sloper, Jules Benedict, and W. Sterndale Bennett entered into a contest by performing a quatre huit on two piano-fortes. The composition, "Les Contrastes," by Moscheles, was not worthy the occasion ; but it afforded scope for one of the most wonderful pieces of instrumentation to which we ever listened, and elicited loud applause. Mr. Sims Reeves introduced the following new ballad, by Benedict "O, do not scorn my love, Though rude it be ; O, do not bid me rove, Afar from thee ! O do not frown and say - Harsh words as yesterday - Life passes well away- By our north sea ! What says the poet's rhyme, I learned of thee ? - 'Love heeds not law or clime, Age or degree !' Wouldst thou for ever hold One manly heart and bold ? Come, have thy fortune told By our North Sea ! " We have quoted the words, as they are characterised by the music so exquisitely that we cannot better, by any remarks of ours, afford an idea of its merits. The popular executant acquitted himself in his best possible style. There were two Other trials of skill in the course of the morning; the first, a trio - on three violoncellos, by Messrs. Piatti, Haussman, and Cossman; and the second, a concertante, by Maurer, for four violins, executed by Messrs. Molique, Sainton, Joachim, and Ernst. Such a combination has, perhaps, never before been listened to ; and the effect was brilliant in the extreme. Benedict's "Scenes of my youth," on the French horn, by M. Vivier, was encored; and when we add that Catherine Hayes sung "Casta Diva;" Parodi and Giuliani, Bellini's "Deh ! Con te;" and Alboni, the brindisi from Lucrezia Borgia, we shall have said sufficient to prove that the concert throughout was worthy of the giver. The rooms were thronged. (The Mirror monthly magazine, Sunday, 1 July 1849)

MR. BENEDICT'S CONCERT. THIS great musical entertainment took place on Friday, the 22nd ult., in the concert-room of Her Majesty's Theatre, which was crowded by a brilliant and overflowing audience. As usual, Mr. Benedict had provided a programme of the utmost attraction, including the names of nearly all the vocal and instrumental artists of celebrity now in London. The only fault to be found with this varied and excellent selection was that Mr. Benedict appeared too seldom himself, in his double capacity of composer and pianist. The one solo performance of the accomplished benéficiaire included a couple of short pieces of his own composition - an "Idylle," as it was styled in the bills, and a Galope Brillant. The former is neither more nor less than a flowing and melodious andante, in the form of a notturno, quite a model in its way, and rendered doubly interesting by the finished style in which it was executed by Mr. Benedict, who, although he has never appeared at the Philharmonic concerts, is one of our most admirable resident pianists. The latter, a brilliant and animated morceau in the modern school, full mechanical difficulties, was equally well played, and both pieces encountered the warmest demonstrations of approval. The other performance of Mr. Benedict was in a quartet for four performers, on two pianofortes, in which he was assisted by Messrs. Charles Hallé, Lindsay Sloper, and Sterndale Bennett, all pianists of the first class. The name of this composition, which is from the pen of the celebrated Moscheles, is Les Contrastes, from which its design will be readily guessed. As a work of inspiration it presents no great claims to consideration, but as a vehicle for exhibiting to advantage the talents of four dexterous executants it is all that could be desired. The performance was excellent throughout; the obligato passages allotted to each pianist were given with striking decision and effect, and the ensemble was faultless. An interesting feature of the concert, was a song, written by Mr. Benedict, expressly for this occasion, for a contralto voice, with an obligato accompaniment for the horn. The melody is both graceful and original, and the manner in which the voice and instrument are combined, shows the hand of a studied and tasteful musician. It is enough to mention the names of the executants, to show how perfectly this new composition was rendered: Madlle. Alboni sang the voice part, and M. Vivier played the horn obligato, Mr. Benedict himself presiding at the pianoforte; its reception was in the highest degree favourable. A very pretty and characteristic ballad, sung by Sims Reeves, and a duet, by the Misses Williams, a composition of much elegance and originality, were also among the new contributions from Mr. Benedict's pen. Both were ably sung, and greatly admired. But it would have been more satisfactory to Mr. Benedict's numerous admirers if. he had favoured them with one of his more extended and important instrumental compositions. One of the grand instrumental points of the concert was Maurer's quartet for four violins, executed by Molique, Ernst, Joseph Joachim, and Sainton. Such a combination of first-rate violinists has very rarely been heard in a public concert, and while the ensemble was invariably perfect, there was an honourable rivalry for individual distinction in the solo obligato passages. The cadenza introduced was written by the well known violinist M. David, of Leipsic, especially for this quartet, and gave each of the performers an opportunity for displaying his taste and mechanical aptitude. The applause of the audience was bestowed upon all with equal liberality, and the palm of excellence was fairly divided among the four. The trio from Guillaume Tell, arranged for three violoncellos, and executed by Piatti, Cosmann, and Hausmann, was also a performance of great interest. Perhaps more than all, however, the audience were gratified by Mr. Benedict's ballad, "Scenes of my youth" (from the opera of The Gipsy's Warning), performed on the horn, with exquisite feeling, by M. Vivier, and encored with the greatest enthusiasm. No singer could have given a more intense expression to the melody of this, one of the most beautiful of modern ballads. Intonation, execution, and expression were alike perfect, while unaffected simplicity of style added another charm to the performance. Never was Vivier more essentially himself. The remaining instrumental piece was a solo on the contra-basso, by Signor Bottesini, of whom we have spoken more than once as a very extraordinary performer. All the stars of Mr. Lumley's establishment contributed their valuable aid to the vocal programme, together with other singers of repute. Besides Mr. Benedict's song, Madlle. Alboni sang the popular "Brindisi," from Lucrezia, as none but herself can sing it, and by unanimous assent was compelled to repeat it. A similar compliment was conferred upon Madlle. Jetty Treffz, in the quaint Scotch ballad, "Comin' thro' the rye," which she sang to perfection. The great Lablache exhibited his superb voice and incomparable humour in the buffo duet, "Ah guardate," with Alboni; and a variety of morceaux too numerous to specify, were sung with more or less success by Mesdlles. Catherine Hayes, Parodi, Vera, A. and M. Williams, Mdm. Giuliani, Mdm. Palm Spatzer, Signors Gardoni, Calzolari, Belletti, Mr. Sims Reeves, Herr Formes, and Pischek. Between the parts the Hungarian vocalists gave two of their favourite morceaux, with their accustomed talent. The conductors were MM. Pilotti and Vera, Messrs. Benedict and Lindsay Sloper. The concert, in spite of its almost unexampled length, gave entire satisfaction, and the majority of the audience remained till the end. (The Musical world, Saturday, 7 July 1849)

Monday, 25 June 1849 : Philharmonic Society's Eighth Concert at Hanover-Square Rooms.

PHILHARMONIC SOCIETY.-The Subscribers and the Public are respectfully informed the EIGHTH CONCERT will take place at the Hanover-square Rooms on MONDAY EVENING, June 25th. Programme: Sinfonia in E Flat - Mozart; Trio, Piano-forte, Clarionet and Tenor, Messrs Lindsay Sloper, Williams, and Hill - Mozart; Overture, MS. "Ruy Blas," - Mendelssohn; Sinfonia in C Minor - Beethoven; Concerto, Violoncello, Mr Hancock - Kraft; Jubilee Overture - Weber. Vocal Performers: Mad. Persiani and Herr Pischek. Conductor, Mr Costa.-Single Tickets, 1l. 1s.; Double Tickets, 1l. 10s.; Triple Tickets, 2l. 6s.; to be obtained of Messrs Addison 210 Regent street. (Examiner, Saturday, 23 June 1849) (Also: Examiner, Saturday, 23 June 1849.)

PHILHARMONIC SOCIETY. - The Subscribers and the Public are respectfully informed, the EIGHTH CONCERT will take place at the HANOVER-SQUARE ROOMS, on MONDAY EVENING, June 25. - Programme - Sinfonia in E flat, Mozart; Trio, Pianoforte, Clarionet, and Tenor, Messrs. Lindsey Sloper, Williams, and Hill, Mozart; Overture, MS., "Ruy Blas," Mendelssohn; Sinfonia in C minor, Beethoven; Concerto, Violoncello, Mr. Hancock, Kraft; Jubilee Overture, Weber. Vocal Performers, Madame Persiani and Herr Pischek. Conductor, Mr. Costa. - Single Tickets, £1 1s.; Double Tickets, £1 10s.; Triple Tickets, £2 5s.; to be obtained of Messrs. Addison, 210, Regent-street. (John Bull, Saturday, 23 June 1849) (Also: The Musical world, Saturday, 23 June 1849; John Bull, Saturday, 23 June 1849; Illustrated London News, Saturday, 23 June 1849.)

PHILHARMONIC SOCIETY. - The Subscribers and the Public are respectfully informed that the EIGHTH CONCERT will take place, at the Hanover Square Rooms, on Monday Evening, June 25. Programme - Sinfonia in E flat (Mozart); Trio, pianoforte, clarionet, and tenor, Messrs. Lindsay Sloper, Williams, and Hill, (Mozart); Overture, Ms. "Ruy Blas," (Mendelssohn); Sinfonia in C minor, (Beethoven); Concerto, violoncello, Mr. Hancock, (Kraft); Jubilee overture, (Weber). Vocal Performers - Madame Persiani and Herr Pischek. Conductor, Mr. Costa. Single Tickets, 1l. 1s., Double Tickets, 1l. 10s.; Triple Tickets, 2l. 5s.; to be obtained of Messrs. Addison, 210, Regent Street. (Spectator, Saturday, 23 June 1849)

PHILHARMONIC SOCIETY. - The subscribers and the Public are respectfully informed the EIGHTH CONCERT will take place at the HANOVER-SQUARE ROOMS, on MONDAY EVENING. June 25. Programme:- Sinfonia in E flat, Mozart; Trio, Pianoforte, Clarionet, and Tenor, Messrs. Lindsay Sloper, Williams, and Hill, Mozart: Overture, MS. Ruy Blas, Mendelssohn ; Sinfonia in C minor, Beethoven; Concerto, Violoncello, Mr. Hancock, Kraft: Jubilee Overture, Weber. Vocal performers, Madame Persiani and Herr Pischek. Conductor, Mr. Costa. - Single tickets, 1l. 1s.; double tickets, 1l. 10s.; triple tickets, 2l. 2s., to be obtained of Messrs. Addison, 210, Regent Street. (The Athenaeum, Saturday, 23 June 1849)

THE PHILHARMONIC SOCIETY'S CONCERT. The eighth concert of the Philharmonic Society, and the last of the series for the present season, took place last evening at the Hanover-square Rooms, which were well filled, though not crowded. The programme of the evening's performances was as follows:- PART I. Sinfonia in E Flat, No. 5, Op. 5 - Mozart. Air, " It is enough, O Lord" (Elijah), Herr Pischek - Mendelssohn Bartholdy. Trio, Pianoforte, Clarionet, and Tenor, Messrs. Lindsay Sloper, Williams, and Hill - Mozart. Aria, "Come per me sereno" (La Sonnambula), Mme. Persiani - Bellini. Overture, MS. "Ruy Blas" - Mendelssohn Bartholdy. PART II. Sinfonia in C Minor - Beethoven. Recit "Camilla hier" (Zampa) Arie, "Du de mit holder" H. Pischek - Herold. Concerto in A Minor, Op. 5, Violoncello, Mr. Hancock - Kraft. Cavatina "Una voce poco fa" ((Il Barbiere di Siviglia) Madame Persiani - Rossini. Overture, Jubilee - Weber. This presented a selection of average excellence, but not offering any very marked or striking features. The two symphonies formed the real strength of this programme, as of most of those which are presented at these concerts, because while the vocal music and the other instrumental music, usually presented, can for the most part he heard elsewhere, it is only at these concerts that those magnificent combinations of harmony can be rendered in their full perfection. The band, under the masterly direction of COSTA, did full justice to each. In the trio for pianoforte, clarionet, and violin, Messrs. LINDSAY SLOPER, WILLIAMS, and HILL obtained well-deserved applause, and Mr. HANCOCK, though his pretensions are not of the highest order, was very successful in his violin Concerto. The orchestra gave MENDELSSOHN's spirited (MS.) overture to Ruy Blas in so excellent a style as to command an immediate encore. The vocal portion of the concert was a little better than it sometimes is, in the quality of the talent engaged; but Herr PISCHEK has been heard elsewhere in the Elijah and PERSIANI might have exhibited her marvellous vocal skill in something less hacknied than the air from the Sonnambula, or even Rosina's [sic] aria. Her execution, however, was perfect, and the applause was enthusiastic. The scene from Zampa is not exactly the kind of piece to display PISCHEK'S extraordinary powers, but he accomplished his task admirably, and was most warmly applauded. (Morning Chronicle (1801), Tuesday, 26 June 1849)

PHILHARMONIC CONCERTS. The eighth concert, and this the closing meeting, took place last night, at the Hanover-square Rooms. The rooms were quite fall. The following programme was performed :- Part I. Sinfonia in E flat, No. 5 - Mozart. Air, " It is enough "-Herr Pischek - Mendelssohn. Trio, pianoforte, clarionet, and tenor - Messrs. Lindsay Sloper, Williams, and Hill - Mozart. Aria, " Come per me' -Madame Persiani - Bellini. Overture, MS., Ruy Bias - Mendelssohn. Part II. Sinfonia in C minor - Beethoven. Arie, "Du de mit holder"- Herr Pischek - Herold. Concerto, violoncello- Mr. Hancock - Kraft. Cavatina, " Una voce " - Madame Persiani - Rossini. Overture, Jubilee - Weber. The symphony by Mozart is one of the most delicate musical poems in the world, and its beauties are well known to audiences of more homely pretensions than the Philharmonic. It is not characterised by any features of magnitude or elaboration ; but it is the easy vein of melody running through it which charms the hearer. The andante is surpassed in graceful elegance by no other orchestral movement that we know of typifying the same class of feeling, and the delicious minuet, with its clarionet obligato, is a priceless gem ; while the constructive powers of the composer are vividly demonstrated in the finale. The execution was exquisite. The clarionet playing of Messrs. Williams and Lazarus in the minuet was perfection itself, and the prescriptive encore was instinctively awarded. The responsibilities of the mighty C minor symphony of Beethoven were less accurately discharged, though it must be admitted this great work has seldom been rendered so well. Mr. Costa adopted the readings he has hitherto chosen, and both the scherzo and the trio were taken somewhat slower than traditions warrant. The mechanical excellence with which the several movements were delineated was of varied complexion, the weak portion of the orchestra- we need hardly name the wind instruments- doing deplorable damage every now and then, the brief passages for the horn in the first allegro and the close being, of course, the most prominent failures. Next year it is to be hoped some steps will be taken to amend these casualties of infirm and vexatious delivery, which are among the few plague spots that disfigure the otherwise matchless executancy of the Philharmonic band. The gigantic trio was opened with immense precision, the closeness of the basses and the tenors demanding more than ordinary praise. The finale, as a whole, was delineated in all its amazing vastness; and this huge monument of genius came out with a breadth and strength that adequately realised the colossal and overwhelming grandeur of the conception. The trio by Mozart was another specimen of the light and artless melody of the master, occupying, however, a position in the programme which might as well have been filled with something of a more imposing character. The trio, though beautiful in its way, has hardly sufficient weight in itself to find entrance in a modern Philharmonic scheme, its texture being at the best but trivial, and its interpretation within the grasp of players far less ably endowed than Messrs. Lindsay Sloper, Williams, and Hill. Let these gentlemen, however, be applauded for the taste they exhibited in detailing this chamber lesson. Its traits of imagination- and they are not powerless because they are modest and unpretending- were neatly and effectively disclosed; and, abandoning for the moment other considerations, nothing could be more gratifying and fascinating. The concerto on the violoncello by Mr. Hancock was a wearisome exemplification of dexterity on the part of a skilful member of the Philharmonic orchestra, for the composition was shallow and insipid in the extreme, and its admission was an act of very questionable wisdom. The overture to Ruy Blas was recently played at Mrs. Anderson's concert, the MS., we believe, being in the possession of the husband of that lady. It was composed by Mendelssohn, in compliance with the wishes of the King of Prussia, and is a work of large merit, breathing the true Mendelssohnian spirit in every bar, and not inferior in breadth of idea to the better-known creations by the same gifted writer. It is full of rich orchestral colour, and its production last night, where it experienced a nobler and more perfect style of development than upon the former occasion, was graceful and judicious. It was encored with acclamation. The noisy Jubilee overture of Weber's was not ill chosen to cover the echoes of the departing footsteps of the audience. The vocal performances speak for themselves. It was hardly worth while paying Persiani to sing such familiar things as Bellini's " Come per me sereno," and Rossini's " Una voce," every roulade and appoggiatura of which, as supplied by her, the town has long since got by heart. Pischek gave the inspired apostrophe from the Elijah with effect, though of a theatrical kind. He was more at home in the air from Zampa, the melodramatic and sentimental "Toi, dont la grace seduisante." We believe the results of the season have been prosperous. (The Standard, Tuesday, 26 June 1849)

Philharmonic Concerts. THE PHILHARMONIC SOCIETY'S CONCERT. The eighth concert of the Philharmonic Society, and the last concert of the present season, took place yesterday evening in presence of a very crowded audience, was as follows:- PART I. Sinfonia in E Flat, No. 5, Op. 5 - Mozart. Air, " It is enough, O Lord" (Elijah), Herr Pischek - Mendelssohn Bartholdy. Trio, Pianoforte, Clarionet, and Tenor, Messrs. Lindsay Sloper, Williams, and Hill - Mozart. Aria, "Come per me sereno" (La Sonnambula), Mme. Persiani - Bellini. Overture, MS. "Ruy Blas" - Mendelssohn Bartholdy. PART II. Sinfonia in C Minor - Beethoven. Recit "Camilla hier" (Zampa) Arie, "Du de mit holder" H. Pischek - Herold. Concerto in A Minor, Op. 5, Violoncello, Mr. Hancock - Kraft. Cavatina "Una voce poco fa" ((Il Barbiere di Siviglia) Madame Persiani - Rossini. Overture, Jubilee - Weber. The symphonies, old and long established favourites, were specimens of the two great masters of the orchestra, and admirably contrasted as to style, about which scarcely a word could be said that has not already been said again and again, were played in such a manner as left little or nothing for criticism to animadvert upon. Soma complained that the minuet in Mozart' symphonia was taken too slow; but we entirely concurred with Mr. Costa's reading, which was in good keeping with the square old fashioned character of the movement, the only one in the four, of this, most finished and beautiful work upon which the finger of Time can be traced. The large majority of the audience must have entertained the same opinion, to judge by the loud encore with which the minuet was honoured. The trio of the scherzo in Beethoven's symphony used formerly to be taken so fast that it was impossible for the basses, which give out the theme, to produce the notes intelligibly. In rectifying this, which was most desirable, Mr. Costa may have fallen into the other extreme; but the error was on the right side; it is much better to be a little slower than intended by the composer, when the object gained is the distinct articulation of the notes, than to be too quick at the expense of clearness and decision. The novelty and the feature of the orchestral part of the programme was the spirited overture of Mendelssohn, an account of which was given, some time ago; in a notice of Mrs. Anderson's concert, where it was first publicly played in England. A second hearing more than confirmed the high opinion we then expressed, and a third, which an enthusiastic call for repetition from every part of the room afforded us the advantage of enjoying, fully convinced us that the overture to Ruy Blas is one of the most dramatic and splendid pieces of instrumental music that modem art has produced. More decidedly theatrical than any previous effort of the author, it is another proof of Mendelssohn's growing attachment to a style of composition which he had apparently abandoned, since, when still a boy, he produced a comic opera in two acts (The Wedding of Camacho - the subject from a well known episode in Don Quixote) at the Grand Opera of Berlin. Besides the overture, we believe Mendelssohn wrote incidental music to the drama of Victor Hugo; and it is to be hoped that this, as well as others of his unpublished works may shortly be given to the public. It is now nearly two years since his death, and yet only a few of the manuscripts left behind have been printed which indicates a strange procrastination on the part of those who hold the copyrights. Not a single phrase that fell from the pen of such a man should be lost; even the earliest compositions should be published, since they possess an interest wholly independent of their intrinsic merit, as throwing a light on the program and development of a genius so original and brilliant. It is to be hoped that the manuscripts of Mendelssohn may not be laid side, like those of Mozart, until they only appear in time to have their authenticity disputed. The appearance, in conjunction, of Messrs. Lindsay Sloper, Williams, and Hill, at the Philharmonic Concerts, was a gratifying circumstance to all who are desirous of upholding our native musicians. Each of these gentlemen ranks high in his individual department. Mr Hill has perhaps no superior as a performer on his too rarely cultivated though highly important instrument, the viola, and he has been of essential service in forwarding that taste for the classical music of the chamber which of late years has been so remarkable a feature in our musical progress. Few performers on the clarionet can boast of a more beautiful tone, or of a greater executive facility, than Mr. Williams, who has for many years officiated as first clarionet in the Philharmonic band. These gentlemen, however, did not appear for the first time at the concerts, having, on several previous occasions, taken part in concerted pieces or in obligato accompaniments to the voice. The debutant was Mr. Lindsay Sloper, an accomplished musician as well as a finished and elegant pianist. It was suggested that the graceful trio of Mozart, was not fitted for a large room, being essentially destined for the chamber; but the perfect style in which it was rendered fairly overturned this objection. We have seldom heard more genuine applause than was bestowed upon each of the three performers throughout the entire trio, which, old and unpretending as it may be, can never fail of being well received from the hands of able and conscientious executants like Messrs. Lindsay Sloper, Williams, and Hill. Mr. Hancock also made a very successful debut, although the concerto of Herr Kraft, whoever he may be, is lengthy, tiresome, and destitute of musical interest. Mr. Hancock has long held a place among the most skilful violoncellists in this country. His tone might be richer, but his mechanism is excellent, and he masters the greatest difficulties with ease. His reception was highly flattering. There is little to say about the vocal music, which offered nothing now. Madame Persiani was in her happiest mood, and embroidered the cavatinas of Bellini and Rossini with a prodigality astonishing even in one who, as a mistress of florid vocalization, has scarcely had a rival. She was immensely applauded in both her performances. Herr Pischek sang the pathetic air from Elijah (surely out of place at an evening concert) with artistic correctness and real feeling; but the common place air from Zampa, however ably rendered, might have easily been spared. The noisy Jubilee overture, brilliantly played, brought to a conclusion what may fairly be regarded as one of the most satisfactory of the eight concerts, and the audience were played out of the room to the tune of "God Save the Queen," which Weber has somewhat clumsily turned into a coda. On the whole, this season has been a successful one; but the Philharmonic directors must not go to sleep on the bed of antique prejudices. It is all very well to have Mr. Costa at the head of the orchestra, to insure a generally effective execution; but, unless Mr. Costa's judgment as a musician be consulted, as well as his influence as a conductor, he fulfils only half his mission. The old preparatory trials seem to be altogether abandoned, and at a time too when the flourishing condition of the society can best afford them. Thus we have so few works absolutely new at the concerts, and thus no young composer of promise has a chance of being heard. Moreover, if we may trust our memory, not a single orchestral work of an English composer has been given during the season; and yet we are informed that Mr. Macfarren has written a new symphony and a new overture, which at least should have had the advantage of a trial. Meanwhile we are compelled to go to the Wednesday Concerts of Mr. Stammer, if we are desirous of hearing one of the overtures of Mr. Sterndale Bennett. Another decided neglect of duty to the subscribers on the part of the Philharmonic directors has been their allowing the eight concerts to go by without engaging the services of several continental artists of distinguished eminence who were well known to be in London. It is enough to name Charles Hallé; Thalberg, Dreyschock, and Schuloff, pianists ; Signor Battesini, contrabassist; Herr Cosmann, violoncellist; Joachim, violinist; and M. Alard, acknowledged to be the best of all the French violinists resident in Paris. These gentlemen have been playing at Mr. Ella's Musical Union, at the Concerts Monstres of M. Jullien, and at the Wednesday Concerts; while at the Philharmonic, where the right of entry is purchased at a far higher price, comparatively inferior talent has been employed on several occasions. We are well wishers of the Philharmonic Society, and should regret to see its influence diminish, since, whatever its errors, it stands quite alone among our musical institutions; but march with the times it must, or it will assuredly be carried away by the stream. Even the best entertainments must be cheap now-a-days to attract the public, and what is inferior and dear at the same time cannot by any means endure. We do not say that the concert provided by the Philharmonic Society are ever wholly unattractive; but we do say that, at the price, they might often be better. (The Times, Tuesday, 26 June 1849)

PHILHARMONIC SOCIETY. The concert of last evening (the eighth) brought this year's series to a conclusion; the first sign that the musical season is drawing to a close. The programme was as follows : Part I. Sinfonia in E Flat, No. 5, Op. 58 Mozart. Air, "It is enough, O Lord;" (Elijah) Herr Pischek Mendelssohn Bartholdy, Trio, Pianoforte, Clarionet, and Tenor, Messrs. Lindsay Sloper, Williams, and Hill Mozart. Aria, " Come per me sertno" (La Sonnambula), Madame Persiani Overture, MS., Ruy Blas Part II. Sinfonia in C Minor Beethoven. Recit. " Camilla hier" ) ry-imnal Arie "Du die mit holder" ; Zampa), Herr Pischek Concerto in A Minor, Op. 5, Violoncello, Mr, Hancock Cavatina, "Una voce poco fa" (Il Barbiere di Siviglia), Madame Persiani . Overture, Jubilee Mozart's symphony in E flat is, to our feeling, the most charming of his orchestral works. It is an emanation of perfect grace and beauty; rich and even profound in its harmonies, but quite clear and transparent ; simple and natural in its strains of melody, but so full of variety that it always appears fresh and new. It was most delicately played; and the minuet and trio, as usual, were loudly encored. The air from " Elijah" [?], in character and subject, too solemn for a miscellaneous concert; and is, moreover, one of those things which cannot without great disadvantage be detached from the works to which they belong. It was, however, very finely sung by Pischek, whose clear and emphatic delivery of the English words might be taken as a valuable lesson by most of our own singers. Mozart's trio in E flat for the pianoforte, clarinet, and tenor, is one of the purest gems of chamber instrumental music. It is in use in every amateur circle, the violin being substituted for the clarinet. Mr. Lindsay Sloper, who appeared for the first time at a Philharmonic Concert (he ought to have done so long ago), played the pianoforte part with a degree of finish and refinement which could not be surpassed. He was beautifully accompanied by Mr. Williams and Mr. Hill, and the whole performance was received with the warmest applause. Madame Persiani might have chosen something less hackneyed than the air from the "Sonnambula," or the everlasting "Una voce poco fa;" but she sang charmingly, and her good looks, flexible voice, and facile execution seemed to tell the audience that, if she was retiring from public life, it was not because she was driven to it by any decay of her vocal powers. The first part of the concert ended with Mendelssohn's overture to "Ruy Bias,'' a piece composed for Victor Hugo's celebrated play, when it was performed in German, at Berlin, It is a powerful production, full of agitation and storm, and strongly marked with the peculiarities of Mendelssohn's genius. It made a great impression, and its repetition was unanimously called for. Beethoven's stupendous symphony in C minor formed the chief portion of the second part of the concert. It was played with the usual grandeur, and produced the usual effect. The applause bestowed on the andante movement almost amounted to an encore. The air from Herold's " Zampa," sung by Pischek in German, was not very interesting in itself, nor did his manner of singing it add to its attraction. Though in subject a love ditty, a great part of it was roared with a loudness absolutely painful to the ear. Mr. Hancock has great rapidity, both of bow and finger, but his tone lacks strength and fulness. The concerto, moreover, had little merit as a composition, and was too long, Weber's Jubilee overture is the least praiseworthy of his works of this class; but, being very loud, it serves very well to play the company out. Thus have terminated the Philharmonic Concerts of this season. They have exhibited, in our apprehension, a good many errors of judgment in their management ; errors which we have noticed as they occurred. But upon the whole, whether we regard the quality of the music selected, or the manner of performance, we shall not find in Europe any concerts better calculated to gratify the lover of music in its noblest and most beautiful forms. (Daily News, Tuesday, 26 June 1849)

PHILHARMONIC CONCERTS. The present season of philharmonic concerts came to a close last evening, before a very full audience. We shall defer the few retrospective observations we have to offer till to-morrow. Part 1 of the programme yesterday evening opened with Mozart's sinfonia in E flat. W ritten in one of his most melodious moods, this work of Mozart always reminds one of Spencer's lines, in reference to Shakspeare, I when he says- From whose pen Large streams of honey and sweet nectar flow,- lines that Mozart may justly share with our own poet. The symphony was played, as it ever is, with that keen relish that converts the labour of execution into an evident pleasure. The luxury of the trio, into which the hearer glides from the minuett, as it were, into arbour of sweets, was perfect, being given with pianissimo so fine, that nothing more delicate, to be audible, can be imagined. This movement received its usual encore. Mozart's well-known trio for pianoforte, clarionet, and tenor- a perfect gem in its way, but adapted rather for chamber than concert performance - was charmingly interpreted by Messrs. Lindsay Sloper, Williams, and Hill. The selection of this piece, however, afforded a hearing to three of our best professors, who certainly justified the opportunity by presenting the audience with a perfect ensemble of excellence. We cannot omit specifying the facile execution of the very difficult and eccentric tenor passage in the trio by Mr. Hill, and the pianoforte playing of Mr. Sloper in the finale. The novelty of this introduction, and the manner of performance, pleased the audience exceedingly. The applause was great and universal. Mendelssohn's MS. overture, "Ruy Blas," concluded the first act and was encored. Like all his works, this composition grows more and more in favour with each hearing. It was played for the first time in this country at Mrs. Anderson's concert, but with orchestra too small for the proper development of the author's effects. The overture is short, terse, and brilliant..know not the nature of the subject, but it is evident that the author has reflected it with great power in this graphic piece of writing. It was played with a spirit commensurate with its own, the finale, a perfect blaze of of brilliancy, being thrown off with marvellous truth and spirit. Beethoven's C minor symphony opened the second act, and albeit every bar is now familiar to amateurs household word, it always asserts the right of an annual hearing, by the astonishment and pleasure it invariably creates. andante is one of those mines of beauty that bid defiance to the dimming influence of age and familiarity, while the colossal grandeur of the finale seems akin to something immortal. The symphony was magnificently played. The concerto for the evening was one of Kraft's, for the violoncello played by Mr. Hancock. The first and last movements are each a tissue of difficulties, without proportionate beauty. But the andante, very sweet and expressive theme, displayed both author and executant to far greater advantage. Here the tone and cantabile style of the player elicited hearty applause. Weber's Jubilee overture concluded concert which, while singularly independent of extraneous helps, proved a remarkably brilliant one. The vocalists were Madame Persiani and Herr Pischek. If report and advertisement speak true, we are immediately to lose, in Madame Persiani, the queen of florid singing, who is one of that renowned quintett of Italian vocalists, each of whom has been distinguished for certain artistic traits not possessed by any contemporary vocalist in the same degree. The names of Grisi, Persiani, Rubini, Tamburini, and Lablache form the group in question-names to all lovers of perfect refinement and high finish in the vocal art the most delightful recollections. (Morning Advertiser, Tuesday, 26 June 1849)

PHILHARMONIC CONCERTS. Eighth Concert, Monday, June 25. PART 1. Sinfonia in E Flat, No. 5, Op. 58 - Mozart. Air, "It is enough, O Lord" (Elijah), Herr Pischek - Mendelssohn Bartholdy. Trio, Pianoforte, Clarionet, and Tenor, Messrs Lindsay Sloper, Williams, and Hill - Mozart. Aria, " Come per me sereno " (La Sonnambula), Madame Persiani - Bellini. Overture, MS., Buy Blas - Mendelssohn Bartholdy. PART II. Sinfonia in C Minor - Beethoven. Recit. and Aria, "Du die mit holder " (Zampa), Herr Pischek - Herold. Concerto in A Minor, Op. 5, Violoncello, Mr Hancock - Kraft. Cavatina, " Una voce poco fa " (Il Barbiere di Siviglia), Madame Persiani - Rossini. Overture, Jubilee - Weber. The last of these concerts for the season assisted to redeem the Society from some of the blame to which too many of the late performances have exposed the managers. Of the four orchestral pieces, three have so often been performed, are so universally admired, and have received such ample notice in our columns, that it will be quite sufficient now to state, that they were never executed with greater precision, feeling, and effect. The overture by Mendelssohn requires to be well known before any conclusive opinion on its merits can prudently be formed; though the three or four bursts of solemn harmony by the brass instruments, which nearly approach the sublime, may safely be mentioned with unqualified praise. What an effect from a few simple chords ! As a whole, we must confess that the meaning of this unpublished work - and a meaning it has, we cannot but believe - was not apparent. The full force of the powerful band was put upon it, and the volume of sound - far too great for the size of the room - rendered all who were not previously acquainted with the music, incapable of discerning design or subject. The Trio of Mozart is one of his most fascinating compositions. It may be considered as a fine conversation-piece, in which the three instruments take equal shares-propounding, replying, rejoining: and while the great composer is manifest in every part, its calmness, its seeming simplicity, might lead to a supposition that it had cost little thought in conceiving, and not much labour in constructing. Of the manner in which this was performed it would be impossible to speak too highly. Such a union of talent is rare. Mr Hill, the best tenor-player we have ever heard, and Mr. Williams, equally skilful with his instrument, are already well known and appreciated ; or Lindsay Sloper has not been long before the public, but his present performance is enough to stamp him as an artist of that good taste which is inseparable from a sound judgment. The warmth with which this lovely work was received ought to convince those to whom the selection of the music is entrusted, that, in withholding from the subscribers compositions of this class, they betray either an ignorance of the prevailing wish of the audience, or are influenced by some not very worthy motive. The plea that music of the quartet kind is of too delicate a nature for a large room, is rebutted at once by referring to its acknowledged effect in greater space in Willis's Room. It is this very delicacy, this gentleness, this softness, which is the quality required in a Philharmonic Concert, as a contrast, a relief to and from the mighty effects of such a band when acting with its full force. The concertos, too frequently introduced, have accompaniments as loud, as clamorous with brazen instruments, as the grandest dramatic overture. And even the vocal music is now so loaded with orchestral parts, and these are performed with such destructive violence, that the ear no longer finds refuge in it from the assaults of drums and trombones, which not unfrequently send the listener away with the organ of audition thoroughly jaded, happy if he escape without an aching head. In the two Italian airs, Mad. Persiani displayed all her natal and acquired powers, and they are great. In compositions so thoroughly worn out, such exuberance of broderie as she introduces is not only to be tolerated, but approved, for without some such mode of imparting a kind of novelty to them, they would be unendurable; and no one possesses the art of giving something like freshness to what is faded, in a higher degree than the lady who is about to bid farewell to the public. To assign to M. Pischek an English song, and on such a subject, seems like downright perverseness. If words so sacred are to be introduced at these concerts, they should proceed from the mouth of one who can pronounce them decorously, and not in a manner nearly akin to burlesque, thus turning what is most solemn into that which is bordering on the ridiculous. Surely we have English singers enough for such purposes, artists not inferior in sacred music to any of the droves of strangers who now flock to our shores, snatching the very bread out of the mouths of our own performers. When these are unequal to a contest with foreigners, they should yield, and must - but when at least equal to them, they ought not to be cast into the background, to be rejected, because aristocracy and fashion prefer Italian, or French, or German, to talent of native growth. In the aria from Zampa, M. Pischek was at home. The music is pleasing, and moreover, the melody has the rare quality of newness. It was given with spirit, though somewhat boisterously. The Jubilee Overture, with the English national and loyal tune at its close, made a good and appropriate finale to an interesting concert. (Examiner, Saturday, 30 June 1849)

PHILHARMONIC SOCIETY. - The concert of Monday was the last, and the best of the season. Its chief features were the two great symphonies, Mozart's in E flat, and Beethoven's in C minor -- works which, though familiar to every amateur, are always heard with renewed delight. Mr. Lindsay Sloper, who appeared at these concerts for the first time, played, along with Messrs. Williams and Hill, Mozart's Trio in E flat for the pianoforte, clarionet, and tenor; a piece also familiar to amateurs, but of ever-enduring freshness and beauty. Mendelssohn's Overture to Ruy Bias, composed for Victor Hugo's celebrated play when it was performed in German at Berlin, was an interesting novelty, having never before been publicly performed in this country. It is full of strong effects, and bears the seal of the author's genius. The vocal pieces sung by Madame Persiani and Pischek. were, as usual, hackneyed and common, and consequently received with great indifference. The uniform carelessness shown by the directors of these great concerts, in the selection of the vocal music, is strange and unaccountable. It has for years been the subject of general complaint, and yet remains without amendment. (John Bull, Saturday, 30 June 1849) (Also: John Bull, Saturday, 30 June 1849.)

PHILHARMONIC CONCERTS. - The programme of the eighth and last concert of the present season, which took place on Monday evening, in the presence of a very crowded audience, was as follows:-Part 1- Sinfonia in E Flat, No. 5, Op. 58 - Mozart. Air, "It is enough, O Lord" (Elijah), Herr Pischek - Mendelssohn Bartholdy. Trio, pianoforte, clarionet, and tenor, Messrs. Lindsay, Sloper, Williams, and Hill - Mozart. Aria, "Come per me sereno" (La Sonnambula), Madame Persiani-Bellini. Overture, MS., Ruy Blas - Mendelssohn Bartholdy. Part 2 - Sinfonia in C Minor - Beethoven. Recit, "Camilla bier," Aria, " Du die mit holder" (Zampa), Herr Pischek - Herold. Concerto in A Minor, Op. 5, Violoncello, Mr. Hancock -- Kraft. Cavatina, "Una voce poco fa" (Il Barbiero di Siviglia), Madame Persiani - Rossini. Overture (Jubilee) - Weber. The symphonies, old and long-established favorites, fine specimens of the two great masters of the orchestra, and admirably contrasted as to style, about which scarcely a word could be said that has not already been said again and again, were played in such a manner as lest little or nothing for criticism to animadvert upon. There is little to say about the vocal music, which offered nothing new. Madame Persiani was in her happiest mood, and embroidered the cavatinas of Bellini and Rossini with a prodigality astonishing even in one who, as a mistress of florid vocalization, has scarcely had a rival. She was immensely applauded in both her performances. Herr Pischek sang the pathetic air from Elijah (surely out of place at an evening concert) with artistic correctness and real feeling; but the common-place air from Zampa, however ably rendered, might have easily been spared. The noisy Jubilee overture, brilliantly played, brought to a conclusion what may fairly be regarded as one of the most satisfactory of the eight concerts, and the audience were played out of the room to the tune of "God save the Queen," which Weber has somewhat clumsily turned into a coda. (The Satirist; or Censor of the Times, Saturday, 30 June 1849)

The eighth and last Philharmonic Concert the season took place on Monday, the Hanover Rooms. The scheme opened with Mozart's lovely symphony in E flat, No. 5, op. 58, the Minuet in which was rapturously encored. Pischek then sang the air, It is enough, O Lord," from Mendelssohn's "Elijah." with earnestness. The trio in E flat of Mozart, for pianoforte, clarionet, and tenor, so familiar to amateurs, was next in rotation; and so admirable was its execution, by Lindsay Sloper, Williams, and Hill, that the amateurs forgot entirely that such works are ordinarily only calculated for chamber practice Madame Persiani gave the cavatina from the Sonnambula," Come per me sereno" and the first part terminated with Mendelssohn's overture, "Ruy Blas," which was executed, with such fire by the band, that its repetition was instantaneously demanded with acclamations. It is a highly dramatic composition, replete with graceful episodes, displaying the incessant restlessness so peculiar to the composer. The second! part opened with Beethoven's C minor [?] marvellously rendered, as may be conceived. Pischek gave a scena from Harold's "Zampa" vigorously but coarsely. A violoncello concerto, by Kraft, followed, enabling Mr. Hancock to show off his dexterity as executant; but the concerto might have gained in favour with more tone and more refined style. Mdame. Persiani's "Una voce" was brilliantly vocalised; and Weber's Jubilee overture, in which tie National Anthem was interwoven, played out the subscribers for this season. The Philharmonic Society this season has maintained its fame the execution of symphonies and overtures; but cannot praise the taste and discretion exercised in the selection of solo players and singers. It is a mistake in the policy of the directors present, year after year, the same executants, as if they were entitled to the distinction from prescriptive right; and there have been too many great artistes excluded this year from the programmes not to have called forth a strong expression of opinion that there has been too much favouritism. The Philharmonic Society has become a standard of art, and the directors are as much bound to resist the inordinate pretensions of native talent as to discourage the inroads of foreign mediocrities; but celebrated artistes of undeniable pre-eminence, whether native or foreign, ought to have a hearing; and it is not fair that the directors in their management should move only in circle of the narrowest kind. (Illustrated London News, Saturday, 30 June 1849)

THE MUSICAL EXAMINER. PHILHARMONIC CONCERTS. Eighth Concert, Monday, June 25. PART 1. Mozart. Sinfonia in E Flat, No. 5, Op. 58 - Mozart. Air, "It is enough, O Lord " (Elijah), Herr Pischek - Mendelssohn Bartholdy. Trio, Pianoforte, Clarionet, and Tenor, Messrs Lindsay Sloper, Williams and Hill - Mozart. Aria, "Come per me sereno " (La Sonnambula), Madame Persiani - Bellini. Overture, MS., Ruy Blas - Mendelssohn Bartholdy. PART II. Sinfonia in C Minor - Beethoven. Recite and Aria, "Du die mit holder " (Zampa), Herr Pischek - Herold. Concerto in A Minor, Op. 5, Violoncello, Mr Hancock - Kraft. Cavatina, "Una voce poco fa" (Il Barbiere di Siviglia), Madame Persiani - Rossini. Overture, Jubilee - Weber. The last of these concerts for the season assisted to redeem the Society from some of the blame to which too many of the late performances have exposed the managers. Of the four orchestral pieces, three have so often been performed, are so universally admired, and have received such ample notice in our columns, that it will be quite sufficient now to state, that they were never executed with greater precision, feeling, and effect. The overture by Mendelssohn requires to be well known before any conclusive opinion on its merits can prudently be formed; though the three or four bursts of solemn harmony by the brass instruments, which nearly approach the sublime, may safely be mentioned with unqualified praise. What an effect from a few simple chords! As a whole, we must confess that the meaning of this unpublished work - and a meaning it has, we cannot but believe - was not apparent. The full force of the powerful band was put upon it, and the volume of sound - far too great for the size of the room - rendered all who were not previously acquainted with the music, incapable of discerning design or subject. The Trio of Mozart is one of his most fascinating compositions. It may be considered as a fine conversation-piece, in which the three instruments take equal shares - propounding, replying, rejoining ; and while the great composer is manifest in every part, its calmness, its seeming simplicity, might lead to supposition that it had cost little thought in conceiving, and not much labour in constructing. Of the manner in which this was performed it would be impossible to speak too highly. Such a union of talent is rare. Mr Hill, the best tenor-player we have ever heard, and Mr Williams, equally skilful with his instrument, are already well known and appreciated ; Mr Lindsay Sloper has not been long before the public, but his present performance is enough to stamp him as an artist of that good taste which is inseparable from a sound judgment. The warmth with which this lovely work was received ought to convince those to whom the selection of the music is entrusted, that, in withholding from the subscribers compositions of this class, they betray either an ignorance of the prevailing wish of the audience, or are influenced by some not very worthy motive. The plea that music of the quartet kind is of too delicate a nature for a large room, is rebutted at once by referring to its acknowledged effect in greater space - in Willis's Room. It is this very delicacy, this gentleness, this softness, which is the quality required in a Philharmonic Concert, as a contrast, a relief to and from the mighty effects of such a band when acting with its full force. The concertos, too frequently introduced, have accompaniments loud, as clamorous with brazen instruments, as the grandest dramatic overture. And even the vocal music is now so loaded with orchestral parts, and these are performed with such destructive violence, that the ear no longer finds refuge in it from the assaults of drums and trombones, which not unfrequently send the listener away with the organ of audition thoroughly jaded, happy if he escape without aching head. In the two Italian airs, Mad. Persiani displayed all her natural and acquired powers, and they are great. In compositions so thoroughly worn out, such exuberance of broderie as she introduces is only to be tolerated, but approved, for without some such mode of imparting a kind of novelty to them, they would be unendurable; and no one possesses the art of giving something like freshness to what is faded, in a higher degree than the lady who is about to bid farewell to the public. To assign to M. Pischek an English song, and on such a subject, seems like downright perverseness. If words so sacred are to be introduced at these concerts, they should proceed from the mouth of one who can pronounce them decorously, and not in a manner nearly akin to burlesque, thus turning what is most solemn into that which is bordering on the ridiculous. Surely we have English singers enough for such purposes, artists not inferior in sacred music to any of the droves of strangers who now flock to our shores, snatching the very bread out of the mouths of our own performers. When these are unequal to a contest with foreigners, they should yield, and must; but when at least equal to them, they ought not to be cast into the background, to be rejected, because aristocracy and fashion prefer Italian, or French, or German, to talent of native growth. In the aria from Zampa M. Pischek was at home. The music is pleasing, and moreover, the melody has the rare quality of newness. It was given with spirit, though somewhat boisterously. The Jubilee Overture, with the English national and loyal tune at its close, made a good and appropriate finale to an interesting concert. (Examiner, Saturday, 30 June 1849)

PHILHARMONIC CONCERTS. THE programme of the eighth and last concert of the present season, which took place on Monday evening, in presence of a very crowded audience, was as follows:- PART I. Sinfonia in E flat, No. 5, Op. 58 Mozart. Air- - " It is enough, O Lord " (Elijah), Herr Pischek - Mendelssohn Bartholdy. Trio - Pianoforte, Clarionet, and Tenor - Messrs. Lindsay Sloper, Williams, and Hill - Mozart. Aria - "Come per me sereno" (La Sonnambula), Madame Persiani - Bellini. Overture, MS. - Ruy Blas - Mendelssohn Bartholdy. PART II. Sinfonia in C Minor - Beethoven. Recit. - "Camilla hier" Arie - "Du die mit holder" (Zampa), Herr Pischek - Herold. Concerto in A minor, Op. 5 - Violoncello, Mr. Hancock - Kraft. Cavatina- "Una voce poco fa" (Il Barbiere di Siviglia) Madame Persiani - Rossini. Overture - Jubilee - Weber. Conductor - Mr. Costa. The symphonies, old and long-established favourites, fine specimens of the two great masters of the orchestra, and admirably contrasted as to style, about which scarcely a word could be said that has not already been said again and again, were played in such a manner as left little or nothing for criticism to animadvert upon. Some complained that the minuet in Mozart's symphony was taken too slow; but we entirely concurred with Mr. Costa's reading, which was in good keeping with the square old-fashioned character of the movement, the only one in the four of this most finished and beautiful work upon which the finger of Time can be traced. The large majority of the audience must have entertained the same opinion, to judge by the loud encore with which the minuet was honoured. The trio of the scherzo in Beethoven's symphony used formerly to be taken so fast that it was impossible for the basses, which give out the theme, to produce the notes intelligibly. In rectifying this, which was most desirable, Mr. Costa may have fallen into the other extreme; but the error was on the right side. It is much better to be a little slower than intended by the composer, when the object gained is the distinct articulation of the notes, than to be too quick, at the expense of clearness and decision. The novelty and the feature of the orchestral part of the programme was the spirited overture of Mendelssohn, an account of which was given, some time ago, in a notice of Mrs. Anderson's concert, where it was first publicly played in England. A second hearing more than confirmed the high opinion we then expressed, and a third, which an enthusiastic call for repetition from every part of the room afforded us the advantage of enjoying, fully convinced us that the overture to Ruy Blas is one of the most dramatic and splendid pieces of instrumental music that modern art has produced. More decidedly theatrical than any previous effort of the author, it is another proof of Mendelssohn's growing attachment to a style of composition which he had apparently abandoned, since, when still a boy, he produced a comic opera in two acts (The Wedding of Camacho - the subject from a well-known episode in Don Quixote) at the Grand Opera of Berlin. Besides the overture, we believe, Mendelssohn wrote incidental music to the drama of Victor Hugo; and it is to be hoped that this, as well as others of his unpublished works, may shortly be given to the public. It is now nearly two years since his death, and yet only a few of the manuscripts left behind have been printed, which indicates a strange procrastination on the part of those who hold the copyrights. Not a single phrase that fell from the pen of such a man should be lost; even the earliest compositions should be published, since they possess an interest wholly independent of their intrinsic merit, as throwing a light on the progress and development of a genius so original and brilliant. It is to be hoped that the manuscripts of Mendelssohn may not be laid aside, like those of Mozart, until they only appear in time to have their authenticity disputed. The appearance, in conjunction, of Messrs. Lindsay Sloper, Williams, and Hill, at the Philharmonic Concerts, was a gratifying circumstance to all who are desirous of upholding our native musicians. Each of these gentlemen ranks high in his individual department. Mr. Hill has perhaps no superior, as a performer on his too rarely cultivated, though highly important, instrument, the viola, and he has been of essential service in forwarding that taste for the classical music of the chamber which of late years has been so remarkable a feature in our musical progress. Few performers on the clarionet can boast of a more beautiful tone, or of a greater executive facility, than Mr. Williams, who has for many years officiated as first clarionet in the Philharmonic band. These gentlemen, however, did not appear for the first time at the concerts, having, on several previous occasions, taken part in concerted pieces, or in obligato accompaniments to the voice. The débutant was Mr. Lindsay Sloper, an accomplished musician, as well as a finished and elegant pianist. It was suggested that the graceful trio of Mozart was not fitted for a large room, being essentially destined for the chamber ; but the perfect style in which it was rendered fairly overturned this objection. We have seldom heard more genuine applause than was bestowed upon each of the three performers throughout the entire trio, which, old and unpretending as it may be, can never fail of being well received from the hands of able and conscientious executants like Messrs. Lindsay Sloper, Williams, and Hill. Mr. Hancock also made a very successful début, although the concerto of Herr Kraft, whoever he may be, is lengthy, tiresome, and destitute of musical interest. Mr. Hancock has long held a place among the most skilful violoncellists in this country. His tone might be richer, but his mechanism is excellent, and he masters the greatest difficulties with ease. His reception was highly flattering. There is little to say about the vocal music, which offered nothing new. Madame Persiani was in her happiest mood, and embroidered the cavatinas of Bellini and Rossini with a prodigality astonishing even in one who, as a mistress of florid vocalization, has scarcely had a rival. She was immensely applauded in both her performances. Herr Pischek sang the pathetic air from Elijah (surely out of place at an evening concert) with artistic correctness and real feeling; but the common-place air from Zampa, however ably rendered, might have easily been spared. The noisy Jubilee overture, brilliantly played, brought to a conclusion what may fairly be regarded as one of the most satisfactory of the eight concerts, and the audience were played out of the room to the tune of "God save the Queen," which Weber has somewhat clumsily turned into a coda. On the whole, this season has been a successful one; but the Philharmonic Directors must not go to sleep on the bed of antique prejudices. It is all very well to have Mr. Costa at the head of the orchestra, to insure a generally effective execution ; but, unless Mr. Costa's judgment as a musician be consulted. as well as his influence as a conductor, he fulfils only half his mission. The old preparatory trials seem to be altogether abandoned, and at a time, too, when the flourishing condition of the society can best afford them. Thus we have so few works absolutely new at the concerts, and thus no young composer of promise has a chance of being heard. Moreover, if we may trust our memory, not a single orchestral work of an English composer has been given during the season; and yet we are informed that Mr. Macfarren has written a new symphony and a new overture, which at least should have had the advantage of a trial. Meanwhile we are compelled to go to the Wednesday Concerts of Mr. Stammers, if we are desirous of hearing one of the overtures of Mr. Sterndale Bennett. Another decided neglect of duty to the subscribers on the part of the Philharmonic Directors has been their allowing the eight concerts to go by without engaging the services of several continental artists of distinguished eminence who were well known to be in London. It is enough to name Charles Hallé, Thalberg, Dreyschock, and Schuloff, pianists ; Signor Bottesini, contrabassist; Herr Cosmann, violoncellist ; Joachim, violinist; Vivier, cornist ; and M. Alard, acknowledged to be the best of all the French violinists resident in Paris. These gentlemen have been playing at Mr. Ella's Musical Union, at the Concerts Monstres of M. Jullien, and at the Wednesday Concerts ; while at the Philharmonic, where the right of entry is purchased at a far higher price, comparatively inferior talent has been employed on several occasions. We are well wishers of the Philharmonic Society, and should regret to see its influence diminish, since, whatever its errors, it stands quite alone among our musical institutions; but march with the times it must, or it will assuredly be carried away by the stream. Even the best entertainments must be cheap nowadays to attract the public, and what is inferior and dear at the same time, cannot by any means endure. We do not say that the concerts provided by the Philharmonic Society are ever wholly unattractive ; but we do say that, at the price, they might often be better. (The Musical world, Saturday, 30 June 1849)

SERIAL CONCERTS. The cessation of what may be called the Serial Concerts of the Metropolis is now giving sign of the approaching close of the season. Of the concerts of this description, "the Ancient Music," which held the highest place for three-quarters of a century, is deceased and will not probably be revived; but its place has been supplied by younger establishments more according to the spirit of the age. The eighth and closing concert of the Philharmonic Society was on Monday evening. Its programme included Mozart's Symphony in E flat and Beethoven's in C minor; to our taste the most beautiful orchestral works of those masters. Executed, as they were, with the precision, clearness, and effect derived from innumerable performances, two such works are a musical banquet for the gods. There were other pieces worthy to accompany them. An overture of Mendelssohn, entirely new in this country, composed for Victor Hugo's Ruy Blas when that play was performed with musical additions at Berlin - a work full of fire, agitation, and striking effects - received the unanimous suffrages of the audience and was loudly encored. Another piece, though old, had all the charm of novelty: it was Mozart's Trio in E flat for the pianoforte, clarionet, and viola, played with such exquisite grace and refinement by Messrs. Lindsay Sloper, Williams, and Hill, that it produced exclamations of pleasure from every part of the room. Mr. Sloper is a pianist of the highest class, and ought to have been heard at these concerts long before now. Other parts of the performance were less praiseworthy. A very long concerto was played on the violoncello by Mr. Hancock, a performer unknown to fame; who showed a great deal of what is called execution - the power, that is, of multiplying notes and running rapidly over the fingerboard; but the music he played was of the most commonplace character, and afforded no room for style or expression. That performance occupied more than half an hour, to the great annoyance of the amateurs who knew that such consummate artists as Joachim and Hallé have been in London for almost the whole season without having been once heard at these concerts. The selection of vocal music, as usual, was injudicious, or rather careless in the extreme. Persiani sang two of the most hackneyed opera airs of the day - "Come per me" from the Sonnambula, and "Una voce" from the Barbiere; which, besides, have been repeatedly heard to much greater advantage during the season at both the Opera houses. Pischek sang an air from Elijah, deprived of its effect by being torn out of its place in the oratorio; and an indifferent scena from a weak opera, Herold's Zampa. All of them were received with supreme indifference. (Spectator, Saturday, 30 June 1849)

The Eighth Philharmonic Concert was held on Monday - the "full pieces" being Beethoven's Symphony in C minor, Mozart's in E flat, Mendelssohn's Overture to 'Ruy Blas' and Weber's 'Jubilee.' Save the third piece on the list there is not one of the above master-works which might not have been given at the Ancient Concerts. Now the Philharmonic Society should be a Society of progress, as much as of preservation. We are emboldened in pressing this consideration from having heard more than one unprofessional subscriber expressing a wish that the Choral Symphony could have been repeated this year; such intimations being clearly indicative of a disposition to enlarge the approved repertory. We are further called upon to repeat our remarks, by the piece of retrogression sanctioned at the aforesaid eighth concert. No cavillers against any given establishment are ever precisely agreed as to the abuse which most demands amendment. Thus, some of our contemporaries, we observe, habitually remonstrate against the exclusion of chamber-music, and it may have been, possibly, to meet their wishes, that Mozart's pleasing Trio for pianoforte, clarinet and viola was on Monday evening performed by Messrs. Sloper, Williams and Hill. But let us point out to both directors and subscribers that the revival was a mistake, whether as regards principles to be respected, or practices in vogue. In the days. when the trio, quartett, &c., formed a frequent feature in a Philharmonic programme, the world was contented with the simpler compositions of Mozart and Haydn, being comparatively unacquainted with - not to say, puzzled by - the more dramatic and extensively developed compositions of Beethoven. From these it is impossible now to return upon their predecessors with the old pleasure and the old implicit faith in their beauty as something final and complete; and hence, what may be called the minor music which then pleased now sounds in some degree insipid. Again, at the period referred to, the Philharmonic Concert offered to the London amateur his only public opportunity of hearing such music properly given. There existed then no Chamber Concerts, no Beethoven Societies, no Musical Unions; and the listener was fain to submit to the inevitable disproportion between the full Symphony and the more meagre and miniature combination of a smaller number of instruments, inevitable as was the loss of effect, rather than remain in ignorance of a group of works so interesting. On all these grounds we dissent from the canons of taste on which such a selection as the one in question could be advocated. The other instrumental piece was a violoncello solo, committed to a native player, by no means the best native player attainable, and as such ineligible. The singers were Madame Persiani and Herr Pischek. (The Athenaeum, Saturday, 30 June 1849)

CONCERTS. PHILHARMONIC.-The concert of Monday evening brought this year's series to conclusion. The programme was as follows Part I.-Sinfonia in E Flat, No. 5. Op. 58, Mozart; Air, "It is enough, O Lord" (Elijah), Herr Pischek - Mendelssohn Bartholdy; Trio, Pianoforte, Clarionet, Tenor, Messrs. Lindsay Sloper, Williams, and Hill - Mozart; Aria, "Come per me sereno" (La Sonnambula), Madame Persiani-Bellini; Overture, MS. (Ruy Blas) Part 2.-Sinfonia in G. Minor, Beethoven; Recit., "Camilla hier," Arie, "Du die mit holder" (Zampa), Herr Pischek, Herold; Concerto in A Minor, Op. 5, Violoncello, Hr. Hancock, Kraft; Cavatina, Una voce fa" (II Barbie,'e di Siviglia), Madame Persiani, Rossini; Overture (Jubilee), Weber.-Mozart's symphony in E flat, op. 58 is, to our feeling, the most charming of his orchestral works; it is simple and natural in its strains but full of variety, and always appears fresh and new; the minuet and trio were, as usual, encored. The air from Elijah is, in character and subject, too solemn for a miscellaneous concert; ; and is, moreover, one of those things which cannot without great disadvantage be detached from the works to which they belong. It was, however, very finely sung by Pischek, whose clear and emphatic delivery of the English words might be taken as a valuable lesson by most of our own singers. Mozart's trio in E flat for the pianoforte, clarinet, and tenor, is one of the purest gems of chamber instrumental music. It is in use in every amateur circle, the violin being substituted for the clarinet. Mr. Lindsay Sloper, who appeared for the first time at a Philharmonic Concert (he ought to have done so long ago), played the pianoforte part with a degree of finish and refinement which could not be surpassed. He was beautifully accompanied by Mr. Williams and Mr. Hill, and the whole performance was received with the warmest applause. Madame Persiani might have chosen something less hackneyed than the air from the "Sonnambula," or the everlasting "Una voce poco fa;" but she sang charmingly, and her good looks, flexible voice, and facile execution seemed to tell the audience that, if she was retiring from public life, it was not because she was driven to it by any decay of her vocal powers. The first part of the concert ended with Mendelssohn's overture to "Ruy Bias,'' a piece composed for Victor Hugo's celebrated play, when it was performed in German, at Berlin, It is a powerful production, full of agitation and storm, and strongly marked with the peculiarities of Mendelssohn's genius. It made a great impression, and its repetition was unanimously called for. Beethoven's stupendous symphony in C minor formed the chief portion of the second part of the concert. It was played with the usual grandeur, and produced the usual effect. The applause bestowed on the andante movement almost amounted to an encore. The air from Herold's " Zampa," sung by Pischek in German, was not very interesting in itself, nor did his manner of singing it add to its attraction. Though in subject a love ditty, a great part of it was roared with a loudness absolutely painful to the ear. Mr. Hancock has great rapidity, both of bow and finger, but his tone lacks strength and fulness. The concerto, moreover, had little merit as a composition, and was too long, Weber's Jubilee overture is the least praiseworthy of his works of this class; but, being very loud, it serves very well to play the company out. Thus have terminated the Philharmonic Concerts of this season. They have exhibited, in our apprehension, a good many errors of judgment in their management ; errors which we have noticed as they occurred. But upon the whole, whether we regard the quality of the music selected, or the manner of performance, we shall not find in Europe any concerts better calculated to gratify the lover of music in its noblest and most beautiful forms. (Bell's New Weekly Messenger, Sunday, 1 July 1849)

PHILHARMONIC SOCIETY. - The concert of Monday was the last, and the best of the season. Its chief features were the two great symphonies, Mozart's in E flat, and Beethoven's in C minor - works which, though familiar to every amateur, are always heard with renewed delight. Mr. Lindsay Sloper, who appeared at these concerts for the first time, played, along with Messrs. Williams and Hill, Mozart's Trio in E flat for the pianoforte, clarionet, and tenor; a piece also familiar to amateurs, but of ever-enduring freshness and beauty. Mendelssohn's Overture to Ruy Blas, composed for Victor Hugo's celebrated play when it was performed in German at Berlin, was an interesting novelty, having never before been publicly performed in this country. It is full of strong effects, and bears the seal of the author's genius. The vocal pieces sung by Madame Persiani and Pischek, were, as usual, hackneyed and common, and consequently received with great indifference. The uniform carelessness shown by the directors of these great concerts, in the selection of the vocal music, is strange and unaccountable. It has for years been the subject of general complaint, and yet remains without amendment. (John Bull, Monday, 2 July 1849)

Verdienſt Hallé's, daß er nur gute Muſik ſpielt. Reißt uns ſein Vortrag auch nicht mit fort, wie es bei Mendelsſohn's unvergleichlichem Spiele der Fall war, ſo bietet er doch verſchiedene Grade von Vortrefflichkeit; bei der Jugend und dem unausgeſetzten Streben des Künſtlers läßt ſich übrigens noch ſehr viel Gutes erwarten. Daß derſelbe in der Philharmonie nicht zum Auftreten kam, gereicht ihr, der letzteren, zur Schande. - Anſtatt Joachim ſpielte die kleine Wilhelmine Neruda ein Concertino von Beriot und zwar mit vieler Sicherheit und mit Geſchmack, doch paßte es nicht in ein Concert, welches ſich auf der Höhe der Philharmonie behaupten will. - Ernſt trat (im dritten) mit einem großen Allegro pathétique und Variations hongroises auf, - Compoſitionen eigener Hand, geſchrieben, ſeine Eigenthümlichkeit und Fertigkeit zu zeigen. Als wir ſelbigen im Jahre 1844 hier hörten, war er ſehr kränklich und wurde ſogar im Concerte ohnmächtig. Damals entſchuldigten wir die Unſicherheit ſeiner Intonation mit dieſem Umſtande und wünſchten beiden Beſſerung. Von ſeinem Geſundheitszuſtand hörten wir diesmal nichts Oeffentliches, jedenfalls aber iſt das Nichtreingreifen eher ärger und ſchlimmer geworden. Auch giebt ſich Ernſt eine unbeſchreibliche Mühe, Paſſagen hervorzubringen, welche unmöglich ſind und, wenn auch vollkommen ausgeführt, doch ſicherlich der Kunſt keinen Vortheil bringen, indem die Kunſtſtückwuth hoffentlich nun als beſeitigt anzuſehen. - Sainton ſpielte Spohr's D-Moll Concert, ſo daß es eine wahre Freude war. Scharfe Klarheit der Intonation, ſeelenvolles Aufſchwingen, Zartheit und Geſchmack, Alles iſt da, um einen genußreichen Geſammteindruck hervorzubringen. Dabei beſitzt der wackere Künſtler eine perſönliche Beſcheidenheit, welche die Verdienſte deſſelben um ſo höher ſtellen. Er möge als Muſter dienen. - Blagrove ſpielte ein Concertino von Mayſeder. Ob die Wahl der Compoſition für einen Schüler Spohr's zu rechtfertigen iſt, bezweifeln wir. Das Spiel war rein und ſicher, doch ohne Seele, und ließ kalt. Mit vieler Kraft und Fertigkeit trug Mr. Chatterton (ein hier Anſäſſiger) ein Harfenconcert von Pariſh-Alvars in Es-Dur vor. Molique ſpielte ſein A-Moll Concert; Compoſition wie Vortrag waren meiſterhaft, voll Jugendkraft und Begeiſterung. Miß Kate Loder gab Serenade und Allegro giojoſo von Mendelsſohn mit der an ihr gewohnten Sicherheit und eingedrungen in den Geiſt der Compoſition. Im letzten Concerte mußten wir ein endloſes, langweiliges Stück für Violoncell anhören, geſpielt vom Orcheſtermitgliede Hancock, der es eben wie ein Orcheſter-ſpieler, ſpielte, der zum Soloſpiel nicht berufen iſt. - Ein Trio von Mozart für Pianoforte, Clarinette und Bratſche, ausgeführt von Lindſay - Sloper, Williams und Hill, gewann durch die Vollkommenheit der Ausführung einen eigenen Liebreiz. Sloper iſt von uns ſchon früher rühmlichſt erwähnt worden. Hill iſt einer der beſten Bratſchiſten, die wir je hörten; voller, kräftiger Ton, zarte Behandlung des Inſtrumentes und künſtleriſche Bildung zeichnen ihn aus. Was nun die ſchwächſte Seite der Concerte betrifft, die Geſangſtücke und Sänger, ſo war außer Mario und Frl. v. Treffz (aus Wien) nichts beſonders zu loben. Selbſt Reeves, welcher einſt viel verſprach, hinterließ keinen angenehmen Eindruck; er ſang italieniſche Muſik, foreirte ſeine Stimme, d. h. er ſchrie, und zeigte im Vortrage eine Willkühr, welche einen augenſcheinlichen Beweis ſeiner zu großen Selbſtſchätzung giebt. Recht anſpruchslos ſang Frl. Babnigg eine Arie von Haydn und "Glöcklein" aus Euryanthe, welch' letzteres beſonders gefiel. - Ein Monſ. Wartel von Paris, durch mehrere großnamige Leute auf's allerwärmſte herempfohlen, ſang Ave Maria von Schubert und ein geiſtliches Lied "Penitence"; die Penitenz war unwillkührlich auf Seite der Zuhörer, denn er ſang wie ein Choriſt, der einen Chor mit voller Stimme einſtudirt, und wurde geradezu ausgelacht. Wir möchten Wehe rufen über ſolche anmaßende Localberühmtheiten. Was für Leutchen alle hat uns doch der bewegte Zuſtand von Paris, welcher alle Muſiker forttrieb, nach England befördert! Violinſpieler, die höchſtens durch eine bekannt gewordene Lithographie als ſolche beglaubigt ſind, welche aber kein Ohr je hörte; Virtuoſen, die wegen ihrer Talente zu "bonmots" oder ihrer Intimität mit den einflußreichſten Journaliſten "rühmlichſt bekannt" geworden. Von Osborne z. B. erwarteten wir Etwas. Dieſer genießt in Paris, wo er als Engländer bei allen engliſchen Familien Unterricht giebt, wegen der "Claſſicität" ſeiner Clavierwerke einen gewiſſen Ruf. Wir hörten von ihm ein Sextett für Pianoforte mit Blasinſtrumenten, das, was die muſikaliſchen Gedanken anlangt, ſchon als das Werk eines Schülers zu tadeln wäre, und überdies Unbeholfenheit in der Ausführung zur Schau trägt. Eben ſo wenig entſpricht ſein Spiel billigen Forderungen; es iſt ohne Ton und Schwung, wie wir dies bei dem Vortrag einer Sonate von Beethoven wahrzuneh (Neue Zeitschrift für Musik, Sunday, 19 August 1849) (Also: Neue Zeitschrift für Musik, Sunday, 19 August 1849.)

Friday, 6 July 1849 : Royal Italian Opera Company's Last Grand Morning Concert of the Season at Royal Italian Opera, Covent-Garden.

ROYAL ITALIAN OPERA, COVENT-GARDEN.- LAST GRAND MORNING CONCERT of the SEASON.- On FRIDAY next, July the 6th, will be given the final Concert, on which occasion a combination of Vocal and Instrumental Talent will be presented of unprecedented magnitude. Favourite morceaux from the Operas of Mozart, Meyerbeer, Rossini, Donizetti, Bellini, &c, by the following eminent Artistes:- Madame Grisi, Madame Persiani, Miss C. Hayes, Madame Dorus Gras, Mdlle. Corbari, Mdlle. De Meric, and Mdlle. Angri; Signor Mario, Signor Salvi, Signor Lavia, Signor Tamburini, Mr. Sims Reeves, Signor Tagliafico, Signor Polonini. M. Massol, and Signor Marini. In addition to which the celebrated Violinist, M. Apollinaire De Konski. will perform a grand fantasia, Caprice Etude, and La Cascade ; Mr. Lindsay Sloper and Mr. Osborne will perform a grand Concertante Duo on two piano-fortes, from Les Huguenots, composed by G. Osborne; a grand Fantasia on airs fromIl Barbiere on the Violoncello, by Monsieur F. Demunck; the Orchestra will perform Beethoven's Overture to Leonora, Cherubim's Overture to Anacreon, and Weber's Overture to Oberon. In the course of the Concert, the popular Concerto Piece, The Benediction of the Poignards, from Meyerbeer's Huguenots. will, by particular desire, be sung, supported by Madame Grisi, M. Massol, Signori Mei, Lavia, Soldi, Polonini, Rache, Tagliafico, and the Chorus. By general desire the celebrated Dervishes' Chorus from Beethoven's Ruins of Athens, and the Prayer from the market scene in Auber's Masianello, will be repeated by a grand chorus of one hundred voices -Conductor Mr. Costa. Prices of Admission ; Boxes 4l. 4s : ditto, 3l. 3s ditto, 2l. 2s.; and ditto. 1l 11s. 6d.; Orchestra stall, 15s.. Amphitheatre - ditto, 5s. Pit, 5s. Amphitheatre, 2s 6d, The concert will commence at half-past One. Tickets, stalls and boxes, may be had at the Box Office, of the theatre in Bow-street, Covent-garden. (Morning Post, Wednesday, 27 June 1849) (Also: Morning Chronicle (1801), Monday, 2 July 1849; The Times, Tuesday, 3 July 1849; Morning Chronicle (1801), Tuesday, 3 July 1849; Morning Chronicle (1801), Wednesday, 4 July 1849; Morning Chronicle (1801), Thursday, 5 July 1849; Morning Chronicle (1801), Friday, 6 July 1849; Globe, Monday, 2 July 1849; Morning Advertiser, Thursday, 5 July 1849; Daily News, Wednesday, 27 June 1849; Morning Post, Saturday, 30 June 1849; Examiner, Saturday, 30 June 1849; The Athenaeum, Saturday, 30 June 1849; Daily News, Friday, 29 June 1849; Morning Post, Friday, 29 June 1849; Morning Post, Thursday, 28 June 1849; Illustrated London News, Saturday, 30 June 1849.)

GRAND MORNING CONCERT, the last this season, at the ROYAL ITALIAN OPERA, Covent-garden.-On FRIDAY, July 6, will be given the Final Concert, on which occasion a combination of vocal and instrumental talent will be presented of unprecedented magnitude, comprising the following eminent artistes: - Madame Grisi, Madame Persiani, Miss C. Hayes, Madame Dorus Gras, Mdlle. Corbari. Mdlle. de Meric, and Mdlle. Angri; Signori Mario, Salvi. Lavia, and Mr. Sims Reeves; Signori Tamburini, Tagliafico, Polonini, M. Massol, and Marini. Apollinaire De Kontski, the celebrated violinist, will make his first appearance at the Royal Italian Opera. Mr. Lindsay Sloper and Mr. Osborne will play a Grand Duo on two pianofortes. Beethoven's Overture to Leonora, Cherubini's Overture to Anacreon, and Weber's Overture to Oberon, will be performed by a full orchestra, and the Prayer from the Market Scene in Auber's Masaniello will be given by a Grand Chorus of 100 voices. TICKETS, STALLS, and BOXES at CRAMER, BEALE, and CO.'S, 201, Regent-street. (Morning Post, Thursday, 28 June 1849) (Also: Morning Post, Friday, 29 June 1849; Morning Post, Tuesday, 3 July 1849.)

GRAND MORNING CONCERT, the last this season at the ROYAL ITALIAN OPERA, Covent-garden. - On FRIDAY, July 6, will be given the Final Concert on which occasion a combination of vocal and instrumental talent will be presented of unprecedented magnitude, comprising the following eminent artistes - Artistes:- Madame Grisi, Madame Persiani, Miss C. Hayes, Madame Dorus Gras, Mdlle. Corbari, Mdlle. De Meric, and Mdlle. Angri; Signor Mario, Signor Salvi, Signor Lavia, Signor Tamburini, Mr. Sims Reeves, Signor Tagliafico, Signor Polonini. M. Massol, and Signor Marini. Apollinaire De Konski., the celebrated violinist will make his first appearance at the Royal Italian Opera. Mr Osborne and Mr. L. Sloper will play a Grand Duo on two pianofortes; Grand Fantasia on the airs from Il Barbiere, on the violoncello by Monsieur Demunck. Beethoven's Overture to Leonora; Cherubim's Overture to Anacreon, and Weber's Overture to Oberon will be performed by the full orchestra and the prayer from the market scene in Auber's Masaniello will be given by a Grand Chorus of 100 voices. TICKETS, STALLS, and BOXES at CRAMER, BEALE, and CO.'S, 201, Regent-street. (Morning Post, Monday, 2 July 1849)

GRAND MORNING CONCERT, at the ROYAL ITALIAN OPERA, Covent-garden. - TOMORROW (FRIDAY), with Mesdames Grisi, Persiani, and Dorus Gras, Miss Catherine Hayes, Mdlles. Corbari, De Meric, and Angri; Signori Mario, Salvi, Lavia, Tamburini, and Mr. Sims Reeves, Signori Tagliafico, Polonini. Massol, and Marini. Violin, M. De Konski., Pianoforte, Mr. L. Sloper and Mr. Osborne; violoncello, M. F. Demunck. The Orchestra will perform the Overtures to Leonora, Anacreon, Oberon, and Prometheus ; the celebrated Dervishes' Chorus, from Beethoven's Ruins of Athens, and the Prayer from Masaniello, by a chorus of 100 voices. TICKETS, STALLS, and BOXES at CRAMER, BEALE, and CO.'S, 201, Regent-street. (Morning Post, Thursday, 5 July 1849)

GRAND MORNING CONCERT, at the ROYAL ITALIAN OPERA, Covent-garden. - THIS MORNING, Friday, with Mesdames Grisi, Persiani, and Dorus Gras, Miss Catherine Hayes, Mdlles. Corbari, De Meric, and Angri; Signori Mario, Salvi, Lavia, Tamburini, and Mr. Sims Reeves, Signori Tagliafico, Polonini. Massol, and Marini. Violin, M. De Konski., Pianoforte, Mr. L. Sloper and Mr. Osborne; violoncello, M. F. Demunck. The Orchestra will perform the Overtures to Leonora, Anacreon, Oberon, and Prometheus ; the celebrated Dervishes' Chorus, from Beethoven's Ruins of Athens, and the Prayer from Masaniello, by a chorus of 100 voices. TICKETS, STALLS, and BOXES at CRAMER, BEALE, and CO.'S, 201, Regent-street. (Morning Post, Friday, 6 July 1849)

Royal Italian Opera. - The fourth of the grand morning concerts, given by the managers of the Royal Italian Opera, took place yesterday upon the stage of Covent-garden Theatre. The selection was of precisely the same character as that usually resorted to, and consequently presented but few features of interest to the operatic habitué. The vocalists consisted solely of the Royal Italian Opera company, excepting Salvi, Sims Reeves, and Corbari, who were announced, but who, up to a quarter to five o'clock, did not make their appearance. Persiani sang, notwithstanding she took her leave of the public on Tuesday night. The solo instrumentations were executed by M. de Kontski, Mr. Lindsay Sloper, Mr. Osborne, and M. de Munck - the last-mentioned gentleman a violoncello player of more than ordinary merit. The orchestra, was conducted by Costa, with his usual vigour and intelligence. The house was well filled. (The Standard, Saturday, 7 July 1849)

The fourth and last grand morning concert of the season this house took place yesterday, in the presence of a full and elegant audience. The series of these entertainments has been altogether very attractive; but this was, perhaps, the best, displaying what was with tolerable truth described combination of vocal and instrumental talent of unprecedented magnitude. The rare amount of artistic excellence collected at this establishment was exhibited in yesterday's concert with admirable effect. The programme, certainly, was in places altered, the pieces transposed, and some which were named therein were omitted. Still, in so lengthy list, and with so much to arrange and keep in regularity it is scarcely a matter of surprise that some changes should be rendered requisite, even at the last moment. The result of the performances actually executed during the concert was such, however, despite nil obstacles and difficulties, as to constitute the entire proceeding what may fairly be termed one of great success. We cannot hope, within reasonable limits, to enumerate all that was worthy of praise. Some of the more striking items, however, may be noticed, as samples of the efficiency and spirit that marked this fine concert. Beethoven's grand Dervishe's Chorus from The Ruins of Athens found an impressive commencement, exhibiting all the care and effectiveness of combination constantly witnessed here in concerted pieces. The aria Mi tradi, was delightfully rendered by Mdlle. Corbari; and Miss Catherine Hayes was heard to much advantage in the celebrated romance, disse Two of the most generally pleasing compositions, however, were the charming duet, I'aria," and the quartetto, "te o caro."' The former was exquisitely sung by Orisi and Persiani It was given "by desire," and was loudly encored. The quartette was finely executed by Onsi, Mario, Tagliafico, and Marini, and had, likewise, to be repeated. Among the instrumental performers, M. Apollinaire de Kartski must be admitted to have held a distinguished position. His "I Puritani" fantasia was given in such a style to show his peculiar excellence as a violinist. The pianoforte duet, by Mr. Lindsay Sloper and Mr. Osborne, was also a delightful example of accomplished and able execution. Indeed, the concert was altogether admirable, and passed off to the satisfaction the entire audience. (Morning Advertiser, Saturday, 7 July 1849)

CONCERTS. Royal Italian Opera.-The fourth and last, and at the same time the best, of the series of these concerts took place on Friday morning; and although the departures and alterations from the programme were particularly bewildering, still there was much of excellence, that the concert of satisfaction. Grisi and Persiani were encored the "Sull' aria;" a similar compliment being paid the duet between Mario and Grist, from the Donna del Lago. Persiani gave the "Perche non ho," from the La-in, very charmingly ; the "Ah quel giorno," from the Semiramide, with great applause; and Miss Hayes, in addition to giving the " Romance" from Robert le Diable, obtained an encore for her singing of a very pretty ballad of Wallace's, ''Why weep?" The instrumentalists comprised M. Kontski, who gave a brilliant fantasia from the Puritani, and an arrangement for the violin of Schubert's "Cascade," - Osborne, and Lindsay Sloper, who gave a remarkably effective duet, on motim, from the Huguenots, and Monsieur Demunck, who executed a fantasia on the violoncello from the [?] of the [?] so as to obtain a well-deserved storm of applause, his execution being most extraordinary. The orchestra also performed the overtures to [?] Anacreon, Leonora (Beethoven's), and in their usual admirable style. Sims Reeves, Corbari, and Manai, though announced, did not appear; but the concert was full of attractive morceaux, that any alterations in the programme were not much heeded. (Bell's New Weekly Messenger, Sunday, 8 July 1849)

ROYAL ITALIAN OPERA. The fourth and last grand morning concert took place on Friday, and was very fully attended. The programme offered some new points. A brilliant duet for two pianofortes, on subjects from the Huguenots, was among the instrumental features. This is the composition of Mr. Osborne, the well-known pianist, who has used the "Rataplan," and other popular themes, with considerable effect. The duett was admirably played by himself and Mr. Lindsay Sloper, and was received with great favour. M. de Munck, from Brussels, a professor of high repute on his instrument, played a solo of his own composition, founded on airs from the Barbiere di Siviglia. Violoncello solos are nearly always too long, and the present essay does not depart from the ordinary rule. In other respects it was well calculated to display advantageously the powers of a clever performer, and M. de Munck did quite enough to convince us that he had solidly earned his reputation. His tone is excelled in sweetness and fulness by that of several violoncellists we could mention; but his style is thoroughly artistic, and his execution wonderfully neat and finished; several of his passages, moreover, were evidently his own, and these produced a marked sensation. M. de Munck's performance was received, as it merited, with distinguished applause. A second hearing of M. Apollinaire de Kontski did not afford us any reason to change the opinion we have already recorded of his abilities. There are at least a dozen English violinists capable of doing all that he did on Friday, and this without evincing any very extraordinary amount of skill. M. Kontski's chief recommendations are a generally correct intonation and a great certainty and precision in the coup d'archet. Other qualities of style or execution there were none to note, either in the "Grand fantasia" on the Puritani, or in the Cascade, a sort of parody on the Tremolo of De Beriot, The serenades of Schubert merely served to show the thinness of M. Kontski's tone. The vocal selection was somewhat weakened by the unexpected absence of Signori Salvi and Marini, Mr. Sims Reeves, M. Massol, and Mademoiselle Corbari, who were named in the programme, but there were nevertheless many attractive morceaux. Grisi and Mario sang the beautiful duet, "Scendi nel picol," from La Donna del Lago, in their happiest manner, and wore encored. A similar compliment was bestowed upon the favourite quartet, "A te o cara," from I Puritani, also very effectively given by Grisi, .Mario, Tagliafico, and Ciabatta. Another encore was awarded to the "Sull'aria" of Grisi and Persiani, which has seldom been better sung by the two accomplished vocalists, and another to a very graceful and sentimental ballad of Vincent Wallace, "Why do I weep for thee ?" rendered with perfect feeling by Miss Catherine Hayes, who appears to have a special talent for ballad singing. Mademoiselle Angri exhibited a genial warmth of style and remarkable facility of execution in the florid cavatina from Semiramide, "Ah quel giorno," and obtained the most energetic demonstrations of approval. Mademoiselle de Meric was also highly successful in the pretty air, "Deh non voler," from Anna Bolena, which she sang very expressively; Madame Persiani as brilliant as ever in the cavatina from Lucia, "Perche non voler ?" which she embellished and elaborated with the utmost ingenuity; and Tamburini sang the "Vi ravviso" with his accustomed vocal fluency and manly expression. The choruses were the Dervishes' invocation from Beethoven's Ruins of Athens, a wild and wonderful inspiration, and the market chorus from Masaniello, both remarkably well given. The overtures to Oberon, Leonora, and Prometheus were finely executed by the band, under the vigorous direction of Mr. Costa. The latter is one of the most admirable of Beethoven's orchestral preludes, and being rarely heard, was listened to with the greater pleasure, and loudly applauded, although it came at the end of a concert by no means noticeable for its brevity. (The Times, Monday, 9 July 1849)

The last concert for the season at the Royal Italian Opera has taken place, with the extraneous assistance of M. de Kontski, M. Demunck, Mr. Lindsay Sloper and Mr. Osborne. (The Athenaeum, Saturday, 14 July 1849)

Royal Italian Opera, Covent Garden. - The last concert was given on Friday, the 6th ult., and was made as attractive as the resources of the establishment could afford, Persiani singing her delightful cavatina from the Lucia, "Perche non ho," Grisi, Angri, and the seconde donne, giving some of their most admired morceaux; the band and chorus also showing their high training and fine qualities in Beethoven's Dervishes' chorus, and the overtures, Leonora (Beethoven), Anacreon (Cherubini), and Oberon (Weber). M. Demunck played a solo on the violoncello, exhibiting very great executive powers, but not superior in the broader and higher qualities of the instrument to many whom we hear constantly. Messrs. Osborne and Lindsay Sloper played a duet on two pianos effectively ; and M. Apollinaire di Konstki, a violinist of considerable repute, performed a solo. (The Literary gazette : A weekly journal of literature, science, and the fine arts, Saturday, 14 July 1849)

ROYAL ITALIAN OPERA. ON Saturday the Lucrezia Borgia was repeated; on Tues. day the Lucia, with Catherine Hayes, Mario, and Tamburini ; and on Thursday the Huguenots, for the tenth time, being for Grisi's benefit. These performances demand no remarks. Thursday night was one of the most brilliant of the season, and Grisi was feted in the most enthusiastic manner. When she and Mario were re-called at the end of the third act, after the grand duet, the quantity of bouquets thrown on the stage was so great, that Mario, who picked them up, found much difficulty in carrying them off. He looked like a perambulating flower garden. The only drawback to the performance of the Huguenots was the absence of Madame Dorus Gras, which necessitated the omission of all the Queen's music. This was a serious loss. The usual encores were awarded to Angri in her Cavalier song, and to the last movement of the blessing of the Poignards chorus. On Friday morning (yesterday week) the fourth and last grand concert took place, and was attended by a large crowd of fashionables. Several of the vocalists were hindered from appearing by illness, and the programme was weakened in consequence. Among the vocal morceaux which were most favorably received, we may notice the duet, "Scendi nel picol," from the Donna del Lago, by Grisi and Mario; the duet from the Nozze di Figaro, "Sull' aria," for Grisi and Persiani ; (by the way, we were delighted to see the charming Persiani after her last appearance on the stage, and hope we may have the pleasure of seeing numerous more such last appearances); the quartet from Puritani, "A te o cara, ; sung by Grisi, Mario, Tagliafico, and Ciabatta ; Angri's "Ah! quel giorno," from Semiramide ; Persiani's cavatina, "Perche non ho," from the Lucia; Madlle. de Meric's "Deh non voler," from Anna Bolena; Tamburini's "Vi raviso," from Sonnambula; and Vincent Wallace's new ballad - a most graceful and tender one, by the way - "Why do I weep for thee ?" by Miss Catherine Hayes. All these were greatly applauded, and the two duets and Wallace's ballad encored. The vocal absentees were Madlle. Corbari, and the Signori Salvi and Marini, Sims Reeves, and Massol. The instrumental section provided some novelties. An instrumental duet for two pianofortes, composed by Mr. G. Osborne, on airs from the Huguenots, was capitally performed by Messrs. Lindsay Sloper and Osborne. It was received with much applause. M. de Munck, a violoncellist of high repute from Brussels, played a fantasia founded on themes from the Barbiere. He is an exceedingly clever performer ; and, although scarcely remarkable for sweetness or power of tone, his execution is peculiarly neat and finished, and his style thoroughly artistic. He was loudly applauded in several very difficult passages, which he mastered with the utmost ease and precision. The performance, however, would have proved infinitely more interesting had it been much shorter. M. Apollonaire de Kontski, the Prussian violinist, of whom we made mention in our notice of Madame Dulcken's concert, played twice in his own peculiar and decidedly original style. We have nothing particular to add to our former expressions of the new violinist's pretensions. His playing is entirely sui generis, and can be referred to no earthly standard. Two choruses were sung : the Invocation of the Dervishes, from Beethoven's Ruins of Athens, a marvellous and mystic inspiration, and the Prayer from Masaniello. Both were splendidly executed. The band played three overtures - the Oberon, Leonora, and Men of Prometheus - with immense effect. These concerts, if continued, will tend to create and foster a taste for instrumental music among the general mass of concert-goers, for which reason, we trust, they will not be let die. With the magnificent resources of the Royal Italian Opera company, the morning concerts may be made features scarcely less attractive than the evening entertainments. Nevertheless they are not as good as they might be. (The Musical world, Saturday, 14 July 1849)

Tuesday, 18 December 1849 : Miss Dolby's Third and Last Soirée Musicale at Her Residence, 2, Hinde-Street, Manchester-Square.

MISS DOLBY begs to announce that her THIRD and LAST SOIREE MUSICALE will take place at; her residence, 2, Hinde-street, Manchester-square. TO-MORROW, the 18th instant, to commence at Eight o'clock precisely: Principal Vocal Performers : Miss Birch, Miss Thornton, Miss Dolby; Mr. Benson, Mr. Seguin, and Mr. H. Phillips. Instrumental: Mr. Lindsay Sloper, Mr. Blagrove, Mr, Gattie, Mr. Dando, and Mr. Lucas. Tickets, half-a-guinea each, to be had only of Miss Dolby, at her residence. (The Times, Thursday, 6 December 1849) (Also: Morning Post, Monday, 17 December 1849.)

Miss DOLBY begs to announce that her THIRD and last SOIREE MUSICALE will take place at her residence, 2, Hinde Street. Manchester Square, on TUESDAY, the 18th inst. To commence at Eight o'clock precisely, . Principal vocal performers:- Miss Birch, Miss Thornton, Miss Dolby, Mr. Benson, Mr. Seguin, and Mr. H. Phillips, instrumental : - Mr. Lindsay Sloper, Mr. Blagrove, Mr. Gattie, Mr. Dando, and Mr. Lucas. - Tickets 10s. 6d. each, to be obtained only of Miss Dolby, at her residence. (The Athenaeum, Saturday, 15 December 1849)

MISS DOLBY begs to announce that her THIRD and LAST SOIREE MUSICALE will take place at; her residence, 2, Hinde-street, Manchester-square. TUESDAY NEXT, DECEMBER 18, to commence at Eight o'clock precisely: Principal Vocal Performers : Miss Birch, Miss Thornton, Miss Dolby; Mr. Benson, Mr. Seguin, and Mr. H. Phillips. Instrumental: Mr. Lindsay Sloper, Mr. Blagrove, Mr, Gattie, Mr. Dando, and Mr. Lucas. Tickets, half-a-guinea each, to be had only of Miss Dolby, at her residence. (The Musical world, Saturday, 15 December 1849)

MISS DOLBY'S SOIREES MUSICALES. The third and last of these elegant entertainments was given last evening, at Miss Dolby's residence, in Hinde-street, Manchester-square. The selection of music was made with her usual taste and judgment, and the different pieces, both vocal and instrumental, were exceedingly well performed. In the instrumental department the pieces were, Mozart's quartet in D, No. 7; the andante con variazoni from Beethoven's sonata for pianoforte and violin, opera 47; and Molique's trio for the pianoforte, violin, and violoncello, which we lately noticed, with merited praise, as a new publication. The instrumentalists were Messrs. Lindsay Sloper, Blagrove, Gattie, Dando, and Lucas. Among the vocal performances were the beautiful contralto air, "Amor nel mio penar," from Handel's "Flavio," and Holmes's "Song of the Blind Flower Girl," sung by Miss Dolby, who also sang, with Miss Thornton, a new duet, " Come to my forest home," by M. Panofka - a most graceful and elegant composition, which, after being heard to so much advantage, cannot fail to become popular. Miss Thornton, who is making progress in her art, sang Mozart's "Voi che sapete." with purity and expression. Mr. Benson's performance of Handel's fine song, "Hide me from day's garish eye," was masterly. This gentleman is becoming one of the best tenor singers of the day. There were several other vocal pieces, and the whole formed a classical and interesting concert. The room was crowded with fashionable company. We hope the success of these concerts will induce Miss Dolby to give another series. (Daily News, Wednesday, 19 December 1849)

MISS DOLBY'S SOIREE MUSICALE. The third and last of a series of chamber concerts given by Miss Dolby, at her residence, in Hinde street, Manchester square, took place last evening. The vocalists were Misses Birch, Thornton, and Dolby, and Messrs. W. Sequin, Benson, and H. Phillips ; the instrumentalists, Messrs. H. Blagrove and Gattie (violin), Mr. Dando (tenor), Mr. Lucas (violoncello), and Mr. Lindsay Sloper (pianoforte). The programme was truly classical and highly creditable to the taste of the fair concert giver. Amongst the most admirable performances of the evening, Miss Dolby's chaste and beautiful interpretation of Handel's lovely aria, "Amor nel mio penar," from an opera called Flavius, has the first claim to our eulogy. The reading of Handel was on this occasion irreproachable. We remarked no meretricious attempts at embellishment, and her conscientious delivery of the text was as worthy of panegyric as the pure artistic fire with which she vivified it. Another important feature in the programme was a new trio for piano, violin, and violoncello, composed by Herr Molique, the celebrated violinist and composer, and performed by Messrs. H. Blagrove, Lucas, and Lindsay Sloper. It contains some charming passages, although, on the whole, a somewhat heterogeneous work. The pianoforte part, which is fraught with digital perplexities, was executed in mastery style by Mr. Lindsay Sloper, who, by his playing throughout the evening, worthily sustained his well-merited reputation. The concert was in every respect an excellent one, and brought the series to a conclusion with great éclat. (Morning Post, Wednesday, 19 December 1849)

On Tuesday night, Miss Dolby gave her third and last soiree musicale, at her residence in Hinde-street, assisted by the Misses Birch and Thornton, Messrs. Benson, Seguin, H. Phillips, Lindsay Sloper, Blagrove, Gattie, Dando, and Lucas. (Illustrated London News, Saturday, 22 December 1849)

MISS DOLBY'S SOIREES MUSICALES. THE following was the programme of the last of these interesting reunions, which, we are happy to state, have turned out as profitable as they were honourable to the fair and talented artist PART I.-Quartet (in D Op. 7) two Violins, Viola, and Violoncello, Mr. Blagrove, Mr. Gattie, Mr. Dando, and Mr. Lucas. - Mozart. Aria, Miss Dolby, "Amor, nel mio penar" (Flavius) Handel. Song, Miss Thornton, "Voi che sapete," - Mozart. Andante con Variazioni (Op. 47) Pianoforte and Violin, Mr. Lindsay Sloper and Mr. Blagrove. - Beethoven. Song, Mr. Benson, "Hide me from day's garish eye," (Il Penseroso) - Handel. Song of the Blind Flower Girl, Miss Dolby. - W. H. Holmes. Motett (No. 2, for female voices) principal parts by Miss Birch, Miss Thornton, and Miss Dolby, "Laudate pueri." - Mendelssohn. PART II. - Trio (first time of performance), Mr. Lindsay Sloper, Mr. Blagrove, and Mr. Lucas, Pianoforte, Violin, and Violoncello. - Molique. Song, Mr. W. H. Seguin, "Deh vieni alla finestra" (Don Giovanni). - Mozart. Song, Miss Birch, "Eulalie," - Hobbs. Duet, Miss Thornton, and Miss Dolby, "Come to my forest home." - Panofka. Trio and Chorus, principal parts by Miss Birch, Miss Thornton, and Miss Dolby, "La Carita," - Rossini. Song, Mr. H. Phillips, "The Milkmaid." - Kraust. Songs, Miss Dolby, "The winter it is past" (Words by Burns) - Kate Loder-"Hopeful heart should banish care," - Balfe. Sestett, Miss Birch, Miss Thornton, Miss Dolby, Mr. Benson. Mr. W. H. Seguin, and Mr. H. Phillips, "Sola, sola, in bujo loco (Don Giovanni) - Mozart. The vocal music accompanied by Mr. Lindsay Sloper. We much regret not having been able to attend the performance, which - although there seems to have been more than the usual number of vocal pieces - must have offered a real treat to the amateurs of good music. We are informed that, as at the others, the room was attended by a numerous and highly-fashionable audience. Molique's new trio, of which it is our intention shortly to state our impressions, seems to have been unanimously admired. (The Musical world, Saturday, 29 December 1849)

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