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Concert Advertisements and Reviews - 1850. Saturday, 2 February 1850 : The Society of British Musicians's Second Chamber Concert at St. Martin's Hall. Society of British Musicians.- The second chamber concert, under the direction of the committee, was given last night, in St. Martin's Hall; triennial performers being Messrs. Blagrove, Cooper. Lazarus, Thomas, Lucas, Weslake, and Zerbini. Mendelssohn's quartet in was [?] given with effect, as was also Beethoven's quintet in E flat; Weber's duet for pianoforte and clarionet, … Lindsay Sloper and Lazarus, received all the grace and finish of which it is susceptible from the feeling and skill of those performers; the clarionet passages in particular, being given by Lazarus with exquisite expression. The vocalists were Mrs Cubitt and Mr. W. H. … (Bell's New Weekly Messenger, Sunday, 3 February 1850) SOCIETY OF BRITISH MUSICIANS. The second of a series of chamber concerts, announced by the above society, took place on Saturday evening, at the St. Martin's Hall. The following is a list of the pieces performed: - Quartet in D, Op. 44, two violins, tenor, and violoncello, Messrs. H. C. Cooper, Zerbini, Weslake, and Lucas - Mendelssohn. (Molto allegro vivace, minuetto un poco allegretto, andante, presto con brio). Recit. "O questo seno." Aria, " Quatido mire," Miss Cubitt - Mozart. Song, " Tutta Rea," Mr. W. H. Seguin - Handel. (Scipione) Duet in E flat, pianoforte and clarinet. Messrs Lindsay Sloper and Lazarus - Weber. (Allegro con fuoco, andante con moto, rondo allegro). Trio in C minor, pianoforte, viola, and violoncello, Messrs. Lindsay Sloper, E. W. Thomas and Lucas - L. Sloper. (MS. First time of performance) (Mosso e agitito, andante scave, allegro). Ballad, "I would not, if I could, forget," Miss Cubitt - Hawes. Duet, "Sole stay of my declining age," Miss Cubitt and Mr. W. H. Seguin (Joseph) - Mehul. Quintet in E flat (op. 4, two violins two violas, and violoncello, Messrs. H. C. Cooper, Zerbini, H. Blagrove, Weslake, and Lucas) - Beethoven. (allegro can brio, andante, minuetto and trio, finale- presto.) The vocal music accompanied on the pianoforte by Mr. W. S Rockstro. By this it will be seen that out of eight works selected by committee of management of an institution whose professed object it is to "give encouragement to native talent in composition and performance ," two only, and one of which is a poor ballad, are by native composers. Such inconsistent and anomalous proceedings cannot but prove injurious to the society, and may, if persevered in, lead to its destruction. If the members cannot supply a sufficient number of good compositions to furnish their few annual concerts, we think it would be advisable for them to eschew all future appeals to the public in behalf of native composes, and confess at once that the society has failed in its principal object. Such attempts as the present are certainly more calculated to advertise their incapacity than to draw attention to their merits. We make these remarks in the hope of producing a reform in the management of the institution, as we feel convinced that sufficient talent might be found, if sought for zeal and intelligence, to sustain worthily the character of British musicians. The leading feature of the concert of last Saturday evening was Mr. Lindsay Sloper's new trio. It is a remarkably clever production, and deserves a much more lengthy notice than we are at present able to bestow upon it. We shall, however, take an early opportunity of doing ample justice to its manifold excellences. It was admirably performed by the author, who was supported by Messrs. W. E. Thomas and Lucas. Mr. Cooper deserves great praise for the very able manner in which he led Mendelssohn's quartet, and M. Lazarus was very successful in his performance of the clarionet part of Weber's duet. The composition, however, is a very paltry affair, and utterly unworthy the reputation of the author of Der Freischütz. (Morning Post, Monday, 4 February 1850) (Also: Morning Post, Monday, 4 February 1850.) Chamber Concerts.- The second of the series of chamber concerts under the direction of the Committee of the Society of British Musicians, was given at St. Martin's Hall, Long-acre, on Saturday evening. The programme was principally selected from the works of the classic composers, and consisted of the following pieces;-Mendelssohn's quartet in D, op. 44, for two violins, tenor and violoncello, aria Quando miro, Mozart. Song, Tutta o Rea (Scipione) Handel; duet in E flat, for pianoforte and clarionet, Weber; trio in C minor for pianoforte, violin, and violincello, Lindsay Sloper; ballad, "I would not if I could forget," Hawes; duet, "Sole stay of my declining age" (Joseph), Mehul; and the quintet in B flat, Beethoven's op. 4 for violins, violas, and violincello. The instrumental pieces were admirably executed by Messrs. H. C. Cooper, Zerbini, Weslake, Lucas, Lindsay Sloper, Lazarus, E. W. Thomas, and H. Blagrove. Miss Cubitt and Mr. W. H. Seguin sang the several vocal pieces with their well known taste and effect. (Morning Advertiser, Monday, 4 February 1850) CONCERTS. SOCIETY OF BRITISH MUSICIANS. - The second of a series of chamber concerts, announced by the above society, took place on Saturday evening last, at the St. Martin's-hall. The following is a list of the pieces performed: -- Quartet in D, Op. 41, two violins, tenor, and violoncello, Messrs. H. C. Cooper, Zerbini, Weslake, and Lucas (Molto allegro vivace, minuetto on poco allegretto andante, presto con brio) - MENDELSSOHN. Recit., "O questo seno." Aria, "Quando miro," Miss Cubitt - MOZART. Song, "Tutta Rea," Mr. W. H. Seguin (Scipione) - HANDEL. Duet in E flat, pianoforte and clarinet, Messrs. Lindsay Sloper and Lazarus (Allegro, con fuoco, Andante con moto, Rondo allegro) - WEBER. Trio in C minor, pianoforte, violin, and violoncello, Messrs. Lindsay Sloper, W. W. Thomas, and Lucas (MS., first a time of performance, Mosso e agitato, Andante scave, Allegro) - L. SLOPER. Ballad, "I would not, if I could, forget," Miss Cubitt - HAWES. Duet, "Sole stay of my declining age," Miss Cubitt and Mr. W. H. Seguin (Joseph) - MEHUL. Quintet in E flat, Op. 4, two violins, two violas, and violoncello, Messrs. H. C. Cooper, Zerbini, H. Blagrove, Weslake, and Lucas (Allegro con brio, Andante, Minuetto and trio, Finale-presto) - BEETHOVEN. The vocal music accompanied on the pianoforte by Mr. W. S. Rockstro. By this it will be seen that. out of eight works selected by the committee of management of an institution whose professed object it is to "give encouragement to native talent in composition and performance," two only, and one of which is a poor ballad, are by native composers. (The Lady's Newspaper & Pictorial Times, Saturday, 9 February 1850) (Also: The Lady's Newspaper & Pictorial Times, Saturday, 9 February 1850.) SOCIETY OF BRITISH MUSICIANS. THIS society, now in its seventeenth year, rose from its sleep on Saturday evening week, and commenced a series of chamber concerts, in the old style, but in a new room. The locale on this occasion was the small room in St. Martin's Hall, where Mr. Willy holds his classical concerts. The following selection of vocal and instrumental music was performed :- Quartet in C, violins, tenor, and violoncello, Messrs. Blagrove, Watson, R. Blagrove, and W. L. Phillips - Haydn. Canzonet -"If sometimes in the haunts of men," Mr. Lockey - W. L. Phillips. Canzonet - "Fidelity," Miss Thornton - Haydn. Sonata - Pianoforte and violin, Miss Kate Loder and Mr. W. Watson - Kate Loder. Quintet - Pianoforte, violin, tenor, violoncello, and contra-basso, Messrs. W. Dorrel, H. Blagrove, R. Blagrove, W. L. Phillips, and C. Severn - G. A. Macfarren. Duet - "List, dearest, list," Miss Thornton and Mr. Lockey (Keolanthe) - Balfe. Song - "To the vine feast," Miss Thornton - Rooke. Nonetto - Violin, viola, violoncello, contra-basso, flute. oboe, clarinet, bassoon, and horn, Messrs. H. Blagrove, R. Blagrove, W. L. Phillips, C. Severn, Clinton, Nicholson, Lazarus, Larkin, and C. Harper - Spohr. Accompanist, Mr. Coote. Director Mr. C. E. Horsley. On Saturday last the second concert took place. The programme was as follows:- Quartet in D, Op. 44, two violins, tenor, and violoncello, Messrs. H. C. Cooper, Zerbini, H. Blagrove, and Lucas - Mendelssohn. Song, Mr. Seguin. Song, Miss Cubitt. Duet in E flat, pianoforte and clarinet, Messrs. Lindsay Sloper and Lazarus - Weber. Trio in C minor, pianoforte, violin, and violoncello, Messrs. Lindsay Sloper, E. W. Thomas, and Lucas, (first time of performance) - Lindsay Sloper. Song, Miss Cubitt. Duet, Miss Cubitt and Mr. Seguin. Quintet in E flat, two violins, two violas, and violoncello, Messrs. H. C. Cooper, Zerbini, Blagrove, Weslake, and Lucas - Beethoven. Accompanist, Mr. W. S. Rockstro. Director, Mr. J. S. Bowley. The third concert takes place to night. (The Musical world, Saturday, 9 February 1850) Thursday, 7 February 1850 : Messrs. H. C. Cooper And T. W. Hancock's First of A Series of Three Subscription Concerts at Exeter Hall. EXETER HALL. MESSRS. COOPER AND HANCOCK beg to announce a SERIES OF THREE SUBSCRIPTION CONCERTS, to take place On FEBRUARY the 7th, 14th, and 28th Insts. Messrs. STERNDALE BENNETT, LINDSAY SLOPER, COOPER, H. BLAGROVE, HILL, R. BLAGROVE., HANCOCK, and HOWELL. Subscription to the Series, 10s.6d. ; Single Ticket, 5s.; Subscription to the Gallery, 6s. ; Single Ticket, 3s. TICKETS TRANSFERABLE. The Concert to commence at Eight o'clock. PROGRAMME. Quartett (No. 2.), Mozart. - Quartett (No. 1., op. 44), Mendelssohn. - Trio, Piano, Violin, Violoncello, Messrs. SLOPER, BLAGROVE, and HANCOCK, (Op. 97), Beethoven. - Quartett (Posthumous) in A minor, Beethoven. Tickets and programmes, containing full particulars, may be had at the music shops. (The Musical world, Saturday, 26 January 1850) (Also: The Musical world, Saturday, 2 February 1850.) EXETER HALL. Messrs H. C. Cooper and T. W. Hancock gave the first of a series of classical chamber concerts, in the small room of the above building, on Thursday evening. The programme, which consisted wholly of instrumental music, was in every respect super-excellent, and ought to have proved extremely attractive to the music-loving public; but, alas ! the attendance was but poor. The auditors were scattered here and there, frightful gaps existed between them, and the worshippers of the classic muse were, as usual, " few and far between." ' We know of nothing more calculated to improve the public taste than classical chamber concerts; and the fact of a number of them being advertised for the ensuing season is in itself a favourable sign of the times. But we cannot agree with those who, on seeing a number of meetings of this kind announced, rush at once to the conclusion that we are the most musical people on earth. Nothing is more common than to hear the numerous classical concerts which take place in and about London adduced as to many proofs of the improving taste of the people but, to render this argument available, it will be first necessary to establish that all such concerts are supported by the public. Now we believe the reverse to be the truth. We are of opinion that nine-tenths of them are, in a pecuniary point of view complete failures, and we look upon their enthusiastic projectors with respect and compassion. We consider them as a kind of musical forlorn hope, who risk their very existence in a glorious attempt to break down the wall of prejudice which surrounds the minds of men, and trample under foot the leaden idols - the dull gods- at whose shrine they worship. We consider such people martyrs in a good cause - their devotion is. therefore, a favourable sign of the times, for it must ultimately tend to advance 'the cause of art. ' The programme of the concert under notice contained some of the choicest treasures of which the musical art can boast. It was as follows : - Quartett- Messrs. Blagrove, Cooper, Hill, and Hancock, No. 2, in D minor Mozart. . Quartett - Messrs. Cooper, Blagrove, Hill, and Hancock, No. 1, Op. 44, in D Mendelssohn Grand Trio - Piano, Violin, and Violoncello, Mr. Lindsay Sloper, Mr. Blagrove, and Mr. Hancock, in B flat, dedicated to Count Rudolph Beethoven. Quartett- Messrs. Cooper, Blagrove, Hill, and Hancock, in A minor, dedicated to Prince Galitzin, Op. 132 Beethoven. Of these works, we consider the quartett of Mozart to "be the most beautiful, and that of Beethoven the most sublime. The one possesses a symmetrical form, smooth and regular outline, and clearness of design. It teems with exquisite fancies, so cunningly contrived that the expectant mind seems almost to anticipate each new piece of loveliness, and yet scarcely deemed it would be so lovely. The other is stem, rugged, dark, and gloomy as its author's mind. The opening movements are very obscure in their design, and every change bring. a surprise to the mind, which seeks in vain for a point of repose. We are oppressed by a feeling of wonder and painful excitement, rather than soothed or enraptured by a sense of loveliness. They appear like the wanderings of a mighty genius, "dark with excessive light," who having exhausted all the elements of thought which this earth can furnish, strives to draw his inspiration from the supernatural world. On hearing the opening movements of this quartet, we can fancy Beethoven reciting the lines of Virgil:- " Di quibus imperium est animarum, umbraeque silentes ! Et Chaos et Phlegethon ! loci nocte silentia late ? Sit mihi fas audi a loqui ! Sit numine vestro Pandsere rsalta terra et caligine messas ! Ibant obscuri, sola sub nocte per umbram Perque domas Ditis vacuas et inania regna! " The opening movements are truly terrible, in the vague and indistinct ideas of suffering and dread with which they inspire us. Unearthly forms seem to glide before the mind's eye, and the almost pulseless heart appears to presage some coming evil, as the death-like stillness of nature forebodes a convulsion of the elements. The "canzone di ringraziamento in modo lidico offerta ulla Divinita da un quarito" is, of course, of a totally different character, and the concluding movement is more coherent, and clearer than the opening ones. It would materially enhance the value of this work if we could know the precise ideas which the author intended to illustrate, for, being acquainted with its philosophy, we should be enabled more thoroughly to appreciate its wonders, and much of its apparent inconsistency might disappear. It is not for us to presume to speak of the compositions of Beethoven otherwise than in a spirit of humility and investigation. It would, indeed, be daring in us to condemn the work of a man who has given so many proofs of a most superhuman genius because its form is not perfectly orthodox, and some of its points be unusually difficult to understand ; but we will venture to state that we consider Mozart a much safer model for the student. Mendelssohn's quartet in D is not one of his happiest effort, although it contains some fine passages. We think it decidedly inferior to the one in E by the same author. Beethoven's trio is a master piece. The performance was, on the whole, excellent, and we hope on a future occasion to see Messrs. Cooper and Hancock, who are really deserving artists, more amply rewarded for their well-directed efforts. (Morning Post, Saturday, 9 February 1850) The first subscription Classical Chamber Concert of Mr. H. C. Cooper and Mr. T. W. Hancock was given on Thursday, in the small room, Exeter Hall. The executants were Mr. Lindsay Sloper (pianoforte), Messrs. H. Blagrove and Cooper (violin). Mr. Hill (viola), and Mr. Hancock (violoncello). The Quartets were were Mozart's No. 2, in D minor; Mendelssohn's No. 1, Op. 44, in D and Beethoven's Op. 132, in A minor; with the Pianoforte, Violin, and Violoncello Trio, in B flat, of Beethoven. (Illustrated London News, Saturday, 9 February 1850) Thursday, 28 February 1850 : The Melodists' Club's Meeting at Freemasons' Tavern, Great Queen-Street. THE MELODISTS' CLUB held its second meeting of the season on Thursday, at the Freemason's Tavern. Messrs. Richardson and Lindsay Sloper delighted the company by their brilliant performances on the flute and pianoforte, and songs were effectively sung by Mr. Francis, Mr. Land, and Mr. Machin. There was a. larger attendance of members than on the last occasion, and the evening passed off with great éclat. (The Musical world, Saturday, 2 March 1850) MUSICAL MEMORANDA. The Melodist Club had an excellent meeting on Thursday-E. Goldsmid, Esq., in the chair. Several songs and glees were well-performed by Messrs. Francis Gray. Land, Gear, Elliott, Barnby, Bradbury, and Machin. Mr Lindsay Sloper performed a composition by Mendelssohn on the pianoforte, and a brilliant waltz of his own capitally. Mr. Richardson delighted the company with his brilliant performance on the flute. (Morning Post, Monday, 4 March 1850) MUSICAL AND THEATRICAL ON DITS. The Melodist Club had an excellent meeting last week, E. Goldsmid, Esq., in the chair. Several songs and glees were well performed by Messrs. F. Gray, Land, Gear, Elliott, Barnby, Bradbury, and Machin; Mr. Lindsay Sloper performed a composition by Mendelssohn on the pianoforte, and a brilliant waltz of his own, capitally. Mr. Richardson delighted the company by his captivating performance on the flute. (The Lady's Newspaper & Pictorial Times, Saturday, 9 March 1850) Saturday, 2 March 1850 : The Society of British Musicians's Sixth and Last Chamber Concert at St. Martin's Hall. On Saturday last, at St. Martin's Hall, the sixth and last chamber concert of the Society of British Musicians was given, directed Mr. Lindsay Sloper, the accompanyist being Mr. C. E. Stephens. The compositions … native composers were a MS. quartet in E minor, by Mr. J. B Calkin, and clever sonata duo in E, for two performers on one pianoforte, played by Miss Kate Loder and the composer. The vocalists were Misses Rainforth, Dolby, Owen, Rooke, Punchaud, Griesbach, and Thornton. (Illustrated London News, Saturday, 9 March 1850) SOCIETY OF BRITISH MUSICIANS. THE last of the six chamber concerts occurred On Saturday, the 2nd instant, at St. Martin's Hall. The attendance was very numerous and overflowed the room. The programme was as follows :- PART I. Quintet in E minor (MS.), two violins, two tenors, and violoncello, Messrs. Blagrove, Mori, Weslake, Trust, and G. Calkin - first time of performance - J. B. Calkin. Song, "I arise from dreams of thee," Miss Dolby - G. A. Macfarren. Quartet, "The maid who'd wish to slumber," Misses Thornton, Rooke, Owen, and Panchaud ( Oracle) - Winter. Canzonet, "Truth in absence," Miss Rainforth - E. B. Harper. Sonata Duo in E, for two performers on one pianoforte, Miss Kate Loder and Mr. W. C. Macfarren - first time of performance - W. C. Macfarren. Song from Ruy Blas, Misses Rainforth, Thornton. Griesbach, Rooke, Dolby, Owen, and Panchaud (with String Quartet Accompaniment) - Mendelssohn. PART II. Sestet in A minor, two violins. two tenors, violoncello, And contra-basso, Messrs. Blagrove, Mori, Weslake, Trust, Guest, and Severn E. - Mayseder. Song, "The Fairies' Invitation," Miss Owen - E. Perry. Canone, "Perfida Clori," Miss Rainforth, Rooke, and Griesbach - Cherubini. Song, "Let me not have this gloomy view," Miss Dolby - Miss L. Barker. Triple Concerto in D minor, three pianofortes, Miss Calkin, and Messrs. F. B. Jewson and C. E. Horsley (with orchestral accompaniments) - J. S. Bach. Accompanist. Mr. C. L Stephens. Director, Mr. Lindsay Sloper. The only instrumental piece we were enabled to hear was the Sonata Duo of Mr. W. C. Macfarren, a work of able merit. The scherzo was encored, and the whole work applauded with much warmth. The only vocal piece we heard was the song from Ruy Blas with which, had Mendelssohn been alive and present, he would not by any means have been satisfied. (The Musical world, Saturday, 9 March 1850) Saturday, 9 March 1850 : The Glee Club's Meeting. MUSICAL AND THEATRICAL ON DITS The Glee Club had a good meeting on Saturday last; Mr. Pepys, who has been appointed chairman, vice the late Sir Felix Booth, presided. Several fine glees were well sung, and Mr. Lindsay Sloper delighted the company by his brilliant performance on the pianoforte. (The Lady's Newspaper & Pictorial Times, Saturday, 16 March 1850) Monday, 11 March 1850 : Mr. Dando's Fifth Quartet Concert at Crosby Hall. MR. DANDO'S QUARTET CONCERTS. MR. DANDO, the admired violinist, has been carrying on his usual series of Quartet Concerts at Crosby Hall, to the gratification and edification of the City amateurs. Supported by Mr. Gattie, Mrs Hill, and Mr. Lucas, Mr. Dando has performed some of the finest specimens of quartet composition in a manner fully to sustain his reputation ; and the concerts have had the additional interest and attraction of the pianoforte playing of Mrs. Anderson, Miss Kate Loder, Mr. Dorrell, and Mr. L. Sloper, who have interpreted some of the grand chamber works of the great masters. The fifth concert of the season, which was one of the most interesting of the series, took place on Monday last. The following was the programme:- PART I. Grand Nonetto, Op. 31, for violin, viola, violoncello, double bass, flute, oboe, clarionet, horn and bassoon, Messrs. Dando, Hill, Lucas, C. Severn, Clinton, Nicholson, Williams, C. Harper, and Baumann - Spohr. Aria, "Sommo Dio," Zaira, Miss Dolby - Winter. Quartett, No. 31, for two violins, viola, and violoncello, Messrs. Dando, Gattie, Hill, and Lucas - Haydn. Song, "When the children are asleep" (a fire side song), Miss Dolby - Wallace. PART II. Second Sonata in D major, for pianoforte and violin, (dedicated to G. A. Macfarren,) Messrs. W. C. Macfarren and Dando - W. C. Macfarren. Song, "The Honved's Bride," Miss Dolby - Molique. Duett, "May Morning," the Misses Williams - W. V. Wallace Quartett, No. 4, for two violins, viola, and violoncello, Messrs. Dando, Gattie, Hill, and Lucas - Beethoven. Accompanist, Mr. W. C. Macfarren. The Nonetto of Spohr was very finely performed; the choir of wind instruments was particularly admirable, and the effect of the ensemble was truly excellent. It is a composition of most ingenious elaboration ; abounding in points of great beauty, and the last movement especially teems with genius - one of the very happiest productions of its author. The Quartet of Haydn was a less effective performance; the lovely movement in A flat, affetuoso sostenuto, was better rendered and better appreciated than the rest of the work. A very principal feature of the evening was Mr. W. C. Macfarren's Sonata for pianoforte and violin, which, besides its merit as a composition, had the interest of novelty, at least to this audience. This is a work which bears the test of a very severe criticism, and which the better known and more strictly judged, the more fully proves its young composer to be possessed of very high musical qualifications both of nature and study. The sonata is written throughout with fluency and with an evident familiarity with the general principles of construction; much as we like the whole, we prefer, however, the two middle movements, the scherzo in D sharp minor and the adagio in A, which are eminently original and equally beautiful, and would indeed do honour to the name of any composer. The playing of Mr. W. C. Macfarren has great merit; he produces a clear, full tone from the pianoforte, and his style is characterised by evident musicianly feeling and great energy. The sonata was very warmly applauded; more so, indeed, than any piece in the programme. The fine Quartet in C minor of Beethoven was excellently performed, but it had the disadvantage of the usual breaking-up of the audience during a last piece to prevent those who wished to hear from paying due attention. Miss Dolby sang most beautifully, and accompanied herself in Mr. Wallace's very charming " Fireside Song." The Misses Williams sang admirably the less meritorious duet of the same composer. The last concert of the series will take place on Monday, the 25th. (The Musical world, Saturday, 16 March 1850) Wednesday, 20 March 1850 : Mr. Lucas's Second Musical Evening for Classical Chamber Compositions at His Residence, 54, Berners-Street. MR. LUCAS respectfully announces that the SECOND MUSICAL EVENING for Classical Chamber Compositions will take place at his residence 54 Berners-street on WEDNESDAY next, at Half-past Eight o'clock Programme: Quartet, No. 5, Mozart ; No. 34, Onslow ; and No 1 Beethoven - and Mendelssohn's Pianoforte Trio, No. 2. Violins, M. Sainton and Mr. Blagrove; Viola, Mr. Hill; Violoncello Mr. Lucas; and Pianoforte, Mr. Lindsay Sloper. Tickets to be obtained only at 54, Berners-street. (Morning Post, Monday, 18 March 1850) The second concert was given by Mr. Lucas, at his residence in Berners-street, Sainton, Blagrove, Hill, Lucas, and Mr. Lindsay Sloper being the executants. (Illustrated London News, Saturday, 23 March 1850) Wednesday, 10 April 1850 : Mr. Bunn's Annual Benefit Concert at St. James's Theatre. Mr. Bunn's benefit next Wednesday, at the St. James's, promises to be a bumper; and certainly the host of talent that will appear on the occasion ought to insure one. Carlotta Grisi is a host in herself- so are the Keans- so are Messrs. Benedict and Lindsay Sloper, in addition to other attractions. Mr. Bunn appears also in the first part of his own monologue. (The Standard, Monday, 8 April 1850) ST. JAMES'S THEATRE.- RARE ATTRACTION.- FOR ONE NIGHT ONLY.- Mr. BUNN'S BENEFIT, on WEDNESDAY, April 10.- Mdlle. Carlotta Grisi, Mrs Charles Kean, Mr. Charles Kean. Monsieur Samson, Mr. Webster Mr Stuart Mr. Howe, Mr. Rogers, Mr. Benedict. Mr. Lindsay Sloper, Mrs H. Marston, Mdlle. Avenel, Mdlle. Denain, &c, will all appear, together with Mr. Bunn, and at Playhouse prices PRIVATE BOXES. STALLS, and TICKETS, to be had of Mr MITCHELL, 33, Old Bond-street; at the Libraries; and of Mr Bunn, 6, Chandos-street. Cavendish-square. (Morning Advertiser, Monday, 8 April 1850) ST. JAMES'S THEATRE.- RARE ATTRACTION.- FOR ONE NIGHT ONLY.- Mr. BUNN'S BENEFIT, TO-MORROW, April 10.- Mdlle. Carlotta Grisi, Mrs Charles Kean, Mr. Charles Kean. Monsieur Samson, Mr. Webster Mr Stuart Mr. Howe, Mr. Rogers, Mr. Benedict. Mr. Lindsay Sloper, Mrs H. Marston, Mdlle. Avenel, Mdlle. Denain, &c, will all appear, together with Mr. Bunn, and at Playhouse prices PRIVATE BOXES. STALLS, and TICKETS, to be had of Mr MITCHELL, 33, Old Bond-street; at the Libraries; and of Mr Bunn, 6, Chandos-street. Cavendish-square. (Morning Post, Tuesday, 9 April 1850) (Also: Morning Advertiser, Tuesday, 9 April 1850.) ST. JAMES'S THEATRE. For the Benefit of Mr. Bunn. THIS EVENING, April 10.- Mdlle. Carlotta Grisi, Mrs. C. Kean, Mr. C. Kean, M. Samson. Mr. Webster, Mr. Stuart, Mr. Howe, Mr. Rogers, Mr. Benedict. Mr. Lindsay Sloper, Mrs. H. Marston, Mdlle. Avenel, Mdlle. Denain, &c, will all appear, together with Mr. Bunn. and at Playhouse prices. Private Boxes, Stalls, and Tickets to be had of Mr. Mitchell, 33, Old Bond-street ; at the Libraries; and of Mr. Bunn, 6, Chandos-street, Cavendish-square. (Morning Post, Wednesday, 10 April 1850) ST. JAMES'S THEATRE. The performances last night were for the benefit of Mr. Bunn. The entertainments provided for the occasion were selected with excellent taste, and afforded ample scope for the display of varied and first-rate talent. The opening; piece, Marivaux's charming comedy, Le Jeu de l'Amour et du Hazard, presented the handsome and accomplished Mdlle. Detain and the finished artiste M. Samson in the characters of Sylvia and Pasquin. We need hardly, state that none of the peculiar points of the dialogue, nor of the finesse of the scene, nor of the traditions of the Theatre Francis were suffered to escape when entrusted to such rare exponents. There was also the peerless and inimitable Carlotta Grisi, who danced her own " Truandaise" with such a grace, and buoyancy, and feeling of enjoyment, as to win an instant redemand and a bouquet. And there were the popular Benedict and Lindsay Sloper, who performed Thalberg's celebrated "Norma" duet on two grand pianofortes, with marvellous executive power and unimpeachable taste ; and Mr. and Mrs. Charles Kean, and Mr. Benjamin Webster, with other members of the Haymarket company, acted King Rene's Daughter. Mr. Bunn delivered the first part of his monologue, and elicited the loud applause of the audience. As a lecturer on dramatic literature, Mr. Bunn is truly excellent. His industry in collecting and collating the best authorities ; united with that practical knowledge obtained but by the constant intercourse with actors and the insight into the arcana of theatrical management gained by personal experience, are advantages which few possess. We may add that his delivery is fluent and agreeable, and his rendering of the various passages of Shakspere which illustrate his subject are signalised by a thorough appreciation both of their aptness and of their poetical beauties. There is much quiet comedy which imparts a zest to his arguments, and an air of respectful intimacy with his audience that removes his lecture from the category of similar performances. The monologue is interspersed with many capital imitations of bygone and present actors, and such an amount of curious information of Shakspere - and of his wonderful works is insinuated in a couple of hours as would take as many years of close reading to acquire. At the termination, Mr. Bunn was called before the curtain amidst the enthusiastic cheers of the house. (Morning Post, Thursday, 11 April 1850) ST. JAMES'S THEATRE. Mr. Bunn took his annual benefit last night, at this elegant little theatre, and, as usual, provided an ample and various bill of fare for his patrons, who assembled in good round numbers on the occasion. The entertainments began with Marivaux' once popular comedy, Le Jeu de l'Amour et du Hazard. The comedies of Marivaux, like his novels and romances, are gone by. The age has grown out of them, as out of all such twaddling sentiment and heartless irony, and the age is all the better for it. The popularity of Marivaux was but a hollow one, as all popularity must be that has not truth for its basis. Nevertheless, the elaborate acting of M. Samson - much more elaborate than genial, by the way - in the well-known character of Pasquin, and the delightful impersonation of Sylvia by the charming and accomplished Mdlle. Denain, made us forget the utter frippery of Marivaux's wit, and the utter falsity of his philosophy and morals. Mdlle. Denain has lately been taking a very high rank in the Theatre Francois (or Theatre de la Republique, as it has been baptised since recent events of sinister influence), where, as a representative of genteel and elegant comedy, she has now very few rivals. This is her second engagement in London, but since 1847 she has made a surprising advance in her profession. She was then unanimously admired by the habitués of Mr Mitchell's theatre for her personal attractions and lady-like demeanour, but to these must now be added all the refinements of her beautiful art, and especially a certain brilliancy of dialogue which is the essence of high comedy. Her Sylvia is an exquisite performance. What is assumed and what is real are equally dramatic, and, at the same time, natural. Mdlle. Denain never forgets the character she is portraying, nor does she allow a single point of the author to escape her, or to pass unappreciated by the attentive and intelligent auditor. Last night she supported her more studied and experienced camarade, M. Samson, in all the business of the scene with more than common spirit and finesse ; and at the fall of the curtain she was unanimously re-called. No welcome could have been more spontaneous than that accorded to Mdlle. Denain. After the comedy Mr. Bunn delivered the first part of his monologue- that in which occurs the beautiful illustrations of Mr. Muir, which have not slightly aided in ensuring Mr. Bunn's success in his new entertainment. Mr. Bunn was warmly received, and the anecdotes and citations he introduces with such spirited independence told with their usual effect. The monologue was followed by a pas de deux, perhaps the most universally popular ever composed - the Truandaise, from Perrot's ballet of Esmeralda, danced by the original representative of Victor Hugo's poetical creation, the exquisite Carlotta Grisi, who was assisted on this occasion, not by Perrot, but by a very excellent substitute in the person of M. Silvain, from the Academic Royale de Paris. Those who have not seen Carlotta dance the Truandaise have not seen what, in its way, is the perfection of art and nature combined. Few, however, were in that predicament last night, if the hearty applause that greeted Carlotta's entree, and the rapturous encore that followed the conclusion of the pas, may be taken as a criterion. It was as the unexpected re-appearance of some old familiar object, which, though absent, had never been forgotten. All that is poetical, and all that is unobtrusively graceful, is combined in this simple and characteristic pas, which would have immortalised Perrot had he produced nothing else. But then it is absolutely essential to its faultless execution that Carlotta should be the interpreter, that Carlotta's small and airy feet should give expression and life to the intentions of the author. Mons. Silvain is not only a good dancer, but an excellent mimist, and by his able and effective performance left Carlotta quite at ease to display all the graces and wonders of her art . The Truandaise was unanimously re-demanded, as we have already hinted, and bouquets and wreaths were thrown to Carlotta at the conclusion. The performances were agreeably varied by a masterly performance of Thalberg's Norma duet, on two pianofortes, by those accomplished artists Benedict and Lindsay Sloper; and the whole concluded with King Rene's Daughter, the principal characters by Mr. and Mrs. Charles Kean. (The Standard, Thursday, 11 April 1850) ST. JAMES'S THEATRE.-Mr. Bunn took his annual benefit last night at the St. James's Theatre, when be provided for his patrons a varied programme, embracing the services of many first-rate artists, native and foreign. The entertainments commenced with Marivaux's comedy, Le Jeu de I'Amour et du Hazard, in which Madlle. Denain and M. Samson sustained the principal characters. M. Benedict and Mr. Lindsay Sloper then performed on two piano-fortes Thalberg's duet on themes from -Norma. Then came a piece de resistance, in the shape of the first part of Mr. Bunn's dramatic and anecdotical monologue, which was relieved by a choreographic scene by Carlotta Grisi and M. Silvain, nothing less attractive than the charming Truandaise, so long the favourite of the town. The entertainments concluded with the Hon. Mr. Phipps's version of King Rene's Daughter, in which the principal parts were sustained by Mr. and Mrs. Kean, Mr. Webster, Mr. Howe, and other members of the Haymarket company. (Morning Chronicle (1801), Thursday, 11 April 1850) (Also: Globe, Thursday, 11 April 1850.) On Wednesday, Mr. Bunn took his annual benefit at the St. James' Theatre, on which occasion Mr. ana Mrs. Charles Kean appeared in King Rene's Daughter," and M. Samson and Mdlle. Demain in the comedy of "Le Jeu de I'Amour et du Hasard." Other entertainments were also provided; Mr. Bunn delivering the first part of his Monologue, Mr. Benedict and Mr. Lindsay Sloper performing on two grand pianos, and Mdlle. Carlotta Grisi and M. Silvain dancing the "Truandaise." (Illustrated London News, Saturday, 13 April 1850) ST. JAMES'S. ST. JAMES'S THEATRE. - Mr. Bunn took his annual benefit on Wednesday night, at this elegant little theatre, and, as usual, provided an ample and various bill of fare for his patrons, who assembled in good round numbers on the occasion. The entertainments began with Marivaux' once popular comedy, Le Jeu de l'Amour et du Hazard. The comedies of Marivaux, like his novels and romances, are gone by. The age has grown out of them, as out of all such twaddling sentiment and heartless irony, and the age is all the better for it. The popularity of Marivaux was but a hollow one, as all popularity must be that has not truth for its basis. Nevertheless, the elaborate acting of M. Samson - much more elaborate than genial, by the way - in the well-known character of Pasquin, and the delightful impersonation of Sylvia, by the charming and accomplished Mdlle. Denain, made us forget the utter frippery of Marivaux' wit, and the utter falsity of his philosophy and morals. Mdlle. Denain has lately been taking a very high rank in the Theatre Francais (or Theatre de la Republique, as it has been baptized since recent events of sinister influence), where, as a representative of genteel and elegant comedy, she has now very few rivals. This is her second engagement in London, but since 1847 she has made a surprising advance in her profession. She was then unanimously admired by the habitués of Mr. Mitchell's theatre for her personal attractions and lady-like demeanour; but to these must now be added all the refinements of her beautiful art, and especially a certain brilliancy of dialogue which is essence of high comedy, Her Sylvia is an exquisite performance. What is assumed and what is real are equally dramatic, and, at the same time, natural. Mdlle. Denain never forgets the character she is portraying, nor does she allow a single point of the author to escape her, or to pass unappreciated by the attentive and intelligent auditor. On Wednesday she supported her more studied and experienced camarade, M. Samson, in all the business of the stage with more than common spirit and finesse; and at the fall of the curtain she was unanimously re-called. No welcome could have been more spontaneous than that accorded to Mdlle. Denain. M. Luguet, however, is but a sorry lover, and his Dorante is a marvellously unfascinating performance. M. Tourillon is, as it were, Cartigny shaken out of his portliness into a meagre-ribbed individual, by a series of convulsive fits. Mdlle. Avenel, who played Lisette, is a lively and clever soubrette. But altogether the entourage of Mdlle. Denain and M. Samson was but indifferent. After the comedy Mr. Bunn delivered the first part of his monologue - that in which occurs the beautiful illustrations of Mr. Muir, which have not slightly aided in ensuring Mr. Bunn's success in his new entertainment. Mr. Bunn was warmly received, and the anecdotes and citations he introduces with such spirited independence told with their usual effect. We trust that in his tour Mr. Bunn may meet with the encouragement and reward due to his spirit and indomitable energy. The monologue was followed by a pas de deux, perhaps the most universally popular ever composed - the "Truandaise," from Perrot's ballad of Esmeralda, danced by the original representative of Victor Hugo's poetical creation, the exquisite Carlotta Grisi, who was assisted on this occasion, not by Perrot, but by a very excellent substitute in the person of M. Silvain, from the Académie Royal de Paris. Those who have not seen Carlotta dance the "Truandaise," have not seen what, in its way, is the perfection of art and nature combined, Few, however, were in that predicament on Wednesday night, if the hearty applause that greeted Carlotta's entrée, and the rapturous encore that followed the conclusion of the pas, may be taken as a criterion. It was as the unexpected reappearance of some old familiar object, which, though absent, had never been forgotten. All that is poetical, and all that is unobtrusively graceful, is combined in this simple and characteristic pas, which would have immortalised Perrot had he produced nothing else. But then it is absolutely essential to its faultless execution that Carlotta should be the interpreter, that Carlotta's small and airy feet should give expression and life to the intentions of the author. Mons. Silvain is not only a good dancer, but an excellent mimist, and by his able and effective performance left Carlotta quite at ease to display all the graces and wonders of her art. The "Truandaise" was unanimously re-demanded, as we have already hinted, and bouquets and wreaths were thrown to Carlotta at the conclusion. The performances were agreeably varied by a masterly performance of Thalberg's Norma duet, on two pianofortes, by those accomplished artists, Benedict and Lindsay Sloper; and the whole concluded with King Rene's Daughter, the principal characters by Mr. and Mrs. Charles Kean, Mr. Webster, and Mr. Stuart. (The Musical world, Saturday, 13 April 1850) ST JAMES'S THEATRE. - Mr Bunn, whose highly amusing monologue has been one of the London "lions" for the last few weeks, took his leave on Monday night with a benefit, prior to his departure for the provinces. Everything was done to render his bill as various and as attractive as possible, and the talents of many countries were combined for his advantage. The two leading "stars" of the French company, M Samson and Mademoiselle Denain, appear in the comedy "Le Jeu de l'Amour et du Hasard;" Mr and Mrs Charles Kean came with their "King Rene's Daughter;" Mr Benedict and Mr Lindsay Sloper brought two grand pianos; Mademoiselle Carlotta Grisi and M. Silvain danced the "Truandaise;" and besides all this there was the first part of the monologue. The house was thronged. (Bell's Life in London and Sporting Chronicle, Sunday, 14 April 1850) Wednesday, 1 May 1850 : Philharmonic Society's Fourth Concert (Evening) [Date Approx]. PHILHARMONIC CONCERTS. THE eighth and last Concert for the Season, took place on Monday night, The programme was as follows :- PART 1. Sinfonia in G Minor - Mozart. Recit. "Divisi noi" -Duo, "Sappi che un rio dovere" (Bianca e Faliero), Miss Lucombe and Miss Dolby - Rossini. Concert Stück in C Minor (MS.) Pianoforte, Mr. Benedict (First time of Performance) - Benedict. Cavatina, "Lieti Signor" (Les Huguenots) Miss Dolby - Meyerbeer. Overture "Der Berggeist" - Spohr PART II. Sinfonia in A, No. 7 - Beethoven. Recit. "Chi per pieta," - Aria "Deh ! parlate," Miss Lucombe - Cimarosa. Fantasia (Ludowic), Violin, Herr Ernst - Ernst. Duet, "Now for him I lov'd so truly" (Jessonda), Miss Lucombe and Miss Dolby - Spohr. Overture, "Jubilee" C. M. von Weber. Conductor, Mr. Costa. It is not surprising that such a good selection should have attracted an unusually large audience. The rooms were so full that many persons were compelled to remain in the lobbies, while the inconvenience was heightened by the fact of the ante-chamber, ordinarily occupied by those who object to the heated atmosphere of a crowded area, being closed, or rather choked up in such a manner with canvass and oth [sic] moveables, that it was impracticable for use. Considering that the members of the Philharmonic Society are such very old and valuable customers, we cannot but think this was a very ungracious and arbitrary proceeding on the part of the proprietors of the Hanover Square Rooms, more especially on the last night of the season. Some good, however, may possibly come of it. Every one is aware that the Hanover Square Rooms do not provide sufficient accommodation for the Philharmonic Concerts. There is not space enough on a full night, and with the new system of numbering the seats those who arrive at eight o'clock must be content to stand in a draught, near the door, or to sit in the lobby, out of hearing of the orchestra. The rooms, moreover, are not large enough for the proper effect of band of eighty performers. The blasts of the wind instruments, in full pieces of the modern school, are quite overpowering. When choral pieces are performed the inconvenience is two-fold, since only a small chorus can be placed, and that not without discommoding the members of the band. Hence the execution of such works as the ninth symphony of Beethoven, the Lobgesang, and the Walpurgis Night of Mendelssohn, have generally been partial failures. That such compositions come within the scheme of the Philharmonic Society cannot be doubted ; but they require a chorus of at least 200, and this, at the Hanover Square Rooms, is out of the question. Already, as we hear, the question of finding a new locale for the Society's performances has been mooted. If the change be possible the sooner it is accomplished the better. Little need be said about the two great symphonies which formed the strength of Monday night's programme, beyond the fact that they were executed in first-rate style, and that the minuet of Mozart and the allegretto of Beethoven were both encored. We must praise Mr. Costa for taking the minuet in minuet time, necessity too frequently overlooked by modern conductors. The trio in Beethoven's scherzo should have been given faster; the composer has marked it "un poco meno mosso " in the score, but being played nearly twice as slow as the scherzo, the contrast was greater than Beethoven intended. The fugato in the allegretto was admirably worked up, beginning with a pianissimo which left no room for criticism ; and indeed the entire performance was in most respects such as we should like always to hear at the Philharmonic Concerts. Spohr's overture to Der Berggeist, one of his grandest orchestral compositions, was also very finely played; and Weber's dashing Jubilee, which ends with the English national anthem, was a spirited and appropriate climax to the concert and the season. The engagement of Mr. Benedict to write a concerto and to perform it himself is a guarantee that the complaints of subscribers and the strictures of the press are beginning to have weight with the directors. Better late than never. Although Mr. Benedict, for upwards of fifteen years, has occupied a very distinguished position among our resident musicians and pianists, he has never before Monday night exhibited his talents at these concerts. His reception was so flattering, however, as to make up for this long attendance in the ante-chamber of Philharmonic patronage. Mr. Benedict's Concert-stuck, as he modestly terms it, is worthy of his reputation. The work of an able and conscientious musician, it abounds with ingenious orchestral effects, and passages for the piano-forte which could only have been written by a thorough master of its resources. The first movement, in C minor, allegro maestoso, opens impressively; the general style of this movement is passionate, but a happy relief is afforded by the second theme, a melodious and expressive cantabile, which first appears in the major key, accompanied by a beautiful obligato for the violoncello, and is subsequently resumed in the Minor, when the oboe adds a new and peculiar colouring to the instrumentation ; the bravura passages that follow each delivery of this theme are vigorous and brilliant. The allegro maestoso does not come to a close, but glides into the next movement, a pastorale, to which the introduction of a kind of scherzo in the middle, as an episode, gives quite a novel form ; though, on the whole, we found this movement too long, especially in the episode, the extremely clever management of the orchestra sustains the interest throughout, while there are some charming points of melody in the pastorale. The Finale is joined to the preceding movement (Mr. Benedict has adopted Mendelssohn's plan of making the movements flow into each other, so that the concerto forms one uninterrupted piece of music) by an agitato passage for the orchestra, which leads by a crescendo to the theme in C major, one of great [sic] is followed by a bravura passage developed with the utmost skill. A short fugato, something like that in the finale of Mendelssohn's first symphony, is subsequently introduced, and the movement is brought to a close with great spirit. The concert-stuck is crowded with difficulties, and demands an unusual facility of execution ; but although the fact of his appearing for the first time before one of the most severe audiences in Europe naturally made him nervous, Mr. Benedict played throughout with great fire and animation, giving equal effect to the passages of energy and to those in which a more graceful and subdued expression was demanded. His success was decided, and he retired amidst unanimous applause. As it did not please the Directors to invite Herr Ernst to play a concerto at one of the concerts, notwithstanding that he has been in London all the season, we were not displeased to hear the great violinist in one of his own ingenious fantasias. The Ludovic is at once one of the most pleasing and brilliant pieces of its kind. The subject, alight and sparkling melody, in Herold's happiest manner, as Ernst has developed it - by the aid of the orchestra, of which he has so thorough a knowledge - becomes as acceptable to musicians as to amateurs. From the manner in which the theme was delivered it was evident that Ernst was going to play his best; his tone was exquisitely pure, and his phrasing large and expressive. His performance created the greatest enthusiasm; the staccato variation, one of the most original feats of its kind, executed with perfect neatness, and the coda, an elaborate passage of double-stopping, executed with astonishing rapidity, were received with loud applause, and Herr Ernst retired amidst the heartiest expressions of satisfaction from the whole room. The vocal music was uniformly good, and the warm reception accorded to our excellent English singers, Misses Lucombe and Dolby, plainly showed how much more welcome they were to the audience than the foreign mediocrities to whom we have been compelled to listen at some of the recent concerts. Rossini's duet was sung to perfection, and that of Spohr wag equally unexceptionable; but we must confess we should have preferred hearing something newer than the scena of Cimarosa and the page's song from the Huguenots, which the clever young ladies have been singing so very frequently of late. On the whole, the present season has been a very successful one, and in spite of the drawbacks, of which from time to time it has been our duty to complain, not altogether undeservedly so. Mr. Costa's influence on the band has been unquestionably of the highest importance; in a short time, under his superintendence, if it continue to improve as of late, the Philharmonic Society will cease in any respect to be second to the Paris Conservatoire in this essential department. Already superior in force and energy, the Philharmonic band is in the right road to equal its celebrated rival in delicacy and light and shade. The faults we have to find with the management of the Philharmonic Society are, a want of spirit in presenting novelties to their subscribers, an occasional indifference to artists whose reputation may have undoubted claims on their attention, a habit of continually repeating the same programmes with but slight deviation from season to season, a general negligence in respect to the vocal music, and an obstinate blindness to the merits of our own composers. During the eight concert of the season just expired, the symphonies performed have been as follows :-Mozart in C (Jupiter), in D No. 4, and in G minor; Beethoven, in D, in B flat, in F No. 8, in F (Pastorale), in C minor, and in A; Haydn, in G (Letter Q), and in B flat No. 9; Mendelssohn, in A No. 2, and A minor; Potter, In D; Spohr, in C minor, No. 3 - fifteen in all. To none of these can any exception be made, unless to the entr'acte symphony of Haydn in B flat, which ought now to be confined to the student's shelf; but we maintain that some of them might for a time give way to newer compositions, or to others which are rarely or never performed; they would be heard with double zest after a silence of two or three years. The overtures, or at least many of them, stand in the same predicament. These have been Weber's Euryanthe, Ruler of Spirits, Preciosa, and Jubilee ; Bernhard Romberg's in D; Onslow's Guise; Cherubini's Anacreon and Les Deux Journées; Mendelssohn's Ruy Blas ; Spohr's Berggeist ; Ries's Don Carlos; Beethoven's Leonora, and Mr. Griesbach's Tempest, MS. Those of Weber, Preciosa excepted, have been literally worn threadbare; the two of Cherubini, and Beethoven's Leonora, have shared the same fate ; Onslow's Guise, and Ries' Don Carlos, ought not to have been played at all; and the only novelty, Mr. Griesbach's Tempest, would probably have never been proposed: had not the composer been one of the directors. Besides these, an adagio and fugue of Mozart was introduced at the fourth concert in place of an overture, but made very little sensation ; while the Walpurgis Night of Mendelssohn, which took up an entire part of the fifth concert, though well executed, came too late in the evening, after a long and dreary selection of vocal and instrumental pieces, to be properly appreciated. The soloists have been Mr. Blagrove (violin - Mayseder's Polonaise in A), and Mr. C. Salaman (pianoforte - Beethoven's concerto in C minor) at the second concert; Mr. Cooper (violin - Mendelssohn's concerto), at the third ; M. Sainton (violin - Beethoven's concerto), and Miss Kate Loder (pianoforte - Sterndale Bennett's caprice in E), at the fourth ; Mr. Lindsay Sloper (pianoforte - Mozart's concerto in C minor), at the fifth; M. Thalberg (pianoforte - Mozart's concerto in D minor, and Thalberg's fantasia on L' Elisir d' Amore), at the sixth: M. Allard (violin - Allard's concerto in E), at the seventh; Mr. Benedict (pianoforte - Benedict's Concert Stuck), and Herr Ernst (violin - Ernst's fantasia on Ludovic), at the eighth and last. We shall offer no remark on this list, nor upon any individual who makes a part of it, but considering the number of distinguished artists, well known to be in London during the season, we say, without hesitation, that it was not what the subscribers had a right to expect for their subscription of four guineas. Two quartets and a trio have been introduced this season, which by no means increased the attraction, although tediously prolonging the duration, of the concerts; at the first concert Mendelssohn's quartet in E flat No. 12, by Messrs. Sainton, Blagrove, Hill, and Lucas ; at the fifth, Haydn's No. 81, by Messrs. Blagrove, Sainton, Hill, and Lucas ; at the sixth, one of the most hacknied and dullest of Corelli's trios, written for violin, but played upon the violoncello, with another violoncello and a contrabasso, by Messrs. Lindley, Lucas, and Howell. Our objection to this renewal of a custom judiciously abandoned, and now doubly unwise, since it exposes the Philharmonic Society to unfavourable comparisons, has more than once been stated and explained. The vocalists during the season have been Miss Louisa Pyne, Madlle. Charton, the Misses A. and M. Williams, Miss Catherine Hayes, Mad. Madeleine Nottes, Mad. Ortensia Maillard, Miss Lucombe and Miss Dolby; Messrs. Sims Reeves, H. Phillips, Benson, Whitworth, Frank Bodda, Machin, and Herr Formes. As the vocal music is always regarded as subordinate at the Philharmonic Concerts, it is scarcely worth while to complain of the list of singers, or of the music that some of them selected to sing ; but we have a strong opinion on the subject nevertheless. (The Musical world, Saturday, 22 June 1850) Monday, 6 May 1850 : Philharmonic Society's Fifth Concert at Hanover-Square Rooms. PHILHARMONIC SOCIETY. - The Subscribers and the Public are respectfully informed, the FIFTH CONCERT will take place at the HANOVER-SQUARE ROOMS, on MONDAY EVENING, May 6. Programme:- Sinfonia, No. 8, Beethoven; Quartett, Messrs. Blagrove, Sainton, Hill, and Lucas; Concerto in C Minor, Pianoforte, Mr. Lindsay Sloper, Mozart; Overture (MS.), "The Tempest," J. Henry Griesbach; The First Walpurgis Night, Mendelssohn Bartholdy. Vocal Performers-Miss M Williams, Mr. Benson, Mr. H. Philips, and Chorus. Conductor, Mr. Costa. - Single Tickets (with Reserved Seats), £1 1s.; Double Tickets (ditto), £1 10s.; Triple Tickets (ditto), £2 5s. - To be obtained of Messrs. Addison, 210, Regent-street. (John Bull, Saturday, 4 May 1850) (Also: John Bull, Saturday, 4 May 1850; Illustrated London News, Saturday, 4 May 1850; Examiner, Saturday, 4 May 1850.) PHILHARMONIC SOCIETY.- The Subscribers and the public are respectfully informed the FIFTH CONCERT will take Place at the Hanover-square Rooms, THIS EVENING (Monday), May 6. Programme- Sinfonia, No. 8, Beethoven ; Quartett, Messrs. Blagrove, Sainton, Hill, and Lucas ; Concerto in C minor, Pianoforte. Mr. Lindsay Sloper, Mozart : Overture (MS.), "The Tempest." J. Henry Griesbach; the First Walpurgis Night - Mendelssohn Bartholdy. Vocal performers- Miss M. Williams Mr Benson, Mr. H. Phillips, and chorus. Conductor, Mr. Costa Single tickets (with reserved seat), 1l 1s. ; double tickets (ditto) 1l. 10s. triple tickets (ditto), 2l. 5s.; to be obtained of Messrs. Addison, 210, Regent-street. ' (The Athenaeum, Saturday, 4 May 1850) (Also: Morning Post, Monday, 6 May 1850; Morning Chronicle (1801), Monday, 6 May 1850; Daily News, Monday, 6 May 1850.) PHILHARMONIC CONCERTS. The fifth concert took place last night at the Hanover-square Rooms, when the following programme was executed :- Part I. Sinfonia in F, No. 8 Beethoven. Aria con Coro,"Possenti Numi," Mr. Phillips Mozart. Quartett, No. 81, two violins, viola, and violoncello, Messrs. Blagrove, Sainton, and Hill, and Lucas - Haydn. Recit. and aria, " Che faro," Miss M. Williams. - Gluck. Concerto in C minor, pianoforte, Mr. Lindsay Sloper - Mozart. Recit. and air, " Thou ling'ring orb," Mr. Benson - Spohr. Overture (MS.) Shakespeare's "Tempest" J.H. Griesbach. Part II. The First Walpurgis Night.- Miss M. Williams, Mr. Benson, Mr. Phillips, and chorus - Mendelssohn. Conductor, Mr. Costa. The symphony by Beethoven is one of the lightest of the nine, but the interest which it excites is none the less on that account. Under-elaborated as it is, compared with its fellows, the hand of Beethoven is visible throughout the construction, evincing much of that picturesque variety and originality for which the master was remarkable- the "lightness " with which it is charged being only observable when he is put in comparison with himself. The usual commendation may be bestowed upon the performance. Nothing could exceed the grace and clearness of the detail. The movement in B flat, the exquisite allegretto Scherzando, was encored according to the receipt of custom, and we should have wondered had it been otherwise, for it was not only played with the utmost delicacy and finish, but its sportive exuberance was developed with a feeling of enjoyment rarely equalled in orchestral exponency. The minuet was given more accurately than we have been accustomed to hear it, the critical passages for the wind instruments being executed with more decision and certainty than formerly. Mr. Griesbach's MS. overture is the work of a clever English musician, and is entitled to praise. The playing of the well-known quartet of Haydn was as perfect as mechanism of the highest and most practised kind could make it; but the delicacies of colouring, which give the picture its life and interest, were frequently lost in the space, and the best motives of delight frustrated. The applause, however, that was bestowed upon the executants was tumultuous. Mozart's fine concerto in C minor was nobly rendered by Mr. Lindsay Sloper, whose abilities as a pianist are of the foremost class. Few musical works have taken so thorough a hold of a public as the First Walpurgis Night of Mendelssohn. We do not marvel at the popularity which this graphic delineation Goethe's celebrated poem has achieved. No music was ever more eminently descriptive, or conveyed more picturesquely the meaning of the words. The solo vocalists last night were the Misses Williams, Mr. Benson, and Mr. H. Phillips. Mr. Phillips acquitted himself with great propriety. It is sufficient to state that the Misses Williams were as careful and judicious as ever. The general execution of this striking work was admirable, the body of singers engaged for the chorusses exerting themselves diligently, and producing results which the brief and limited measure of rehearsal allowed to these concerts hardly prepared us for. The exciting chorus in G and A minor, narrating the progress of the mystic rites and the grotesque and demoniacal devices instituted to scare away the Christian intruders, was given with remarkable precision. Miss M. Williams's execution of the hacknied aria of Gluck was all that could be desired. The attempt of Mr. Benson in the air from Faust, did not however rise above mediocrity. (The Standard, Tuesday, 7 May 1850) PHILHARMONIC SOCIETY. The fifth concert took place last evening. We subjoin the programme : - Part I. Sinfonia in F, No. 8 Beethoven. Aria con Coro,"Possenti Numi," Mr. Phillips Mozart. Quartett, No. 81, two violins, viola, and violoncello, Messrs. Blagrove, Sainton, and Hill, and Lucas - Haydn. Recit. and aria, " Che faro," Miss M. Williams. - Gluck. Concerto in C minor, pianoforte, Mr. Lindsay Sloper - Mozart. Recit. and air, " Thou ling'ring orb," Mr. Benson - Spohr. Overture (MS.) Shakespeare's "Tempest" J.H. Griesbach. Part II. The First Walpurgis Night.- Miss M. Williams, Mr. Benson, Mr. Phillips, and chorus - Mendelssohn. Conductor, Mr. Costa. Beethoven's lovely symphony, portions of which have become extremely popular in consequence of their frequent performance at Jullien's concerts, was played with the utmost delicacy and precision. The "allegretto scherzando" was, as usual, vociferously encored, and the whole work rapturously applauded. This symphony cannot certainly be compared with the C minor for sublimity, the B flat for grandeur, the Eroica or Pastorale for descriptiveness, but for light and beauty it is second to none. It is conceived in a more calm and happy spirit than most of the great master's compositions, and appears to have been inspired by the same feeling to which we are indebted for the violin and piano sonata in F, the fourteenth piano sonata, and some other of his lighter effusions. It was composed during the third period of Beethoven's career. Mr. Phillips delivered the fine aria from Il Flauto Magico with considerable judgment, and was received with every demonstration of welcome and approbation. Haydn's pretty string quartet., No. 81, was very efficiently rendered by Messrs. Blagrove, Sainton, Hill, and Lucas. Mr. Blagrove articulated the rapidly-bowed passages with most laudable distinctness, and his broad, even tone, and solid style were, throughout the quartett, as remarkable as ever. M. Sainton was a most admirable second violin, and this, although the part be subordinate, is no small praise, as all musicians will admit. He carefully avoided any endeavour, by exaggerated expression or unusual fingering, to give undue prominence to the part, but judiciously kept his playing down, rendering it subservient to the general effect. Mr. Hill fully sustained his reputation as the best tenor performer of chamber music to be found amongst our native talent ; and Mr. Lucas displayed his well-known tact and musical feeling in the intelligent reading he gave to the violoncello part. Gluck's somewhat hackneyed air " Che Faro" was very chastely sung by Miss Martha Williams. Her rendering of the recitative, however, lacked energy and dramatic accent. We were well pleased to see Mr. Lindsay Sloper in the Philharmonic orchestra. He is one of our very best pianists, and amongst English professors we know of none more worthy of Philharmonic honours. His execution of Mozart's concerto was thoroughly sterling and musician-like. Not a passage was crippled, not a note missed ; but all was smooth, equal, and the most difficult passages were played strictly in time, and with excellent clearness and accent. In fact, whether we consider his performance with reference to feeling or mechanism, it was truly admirable. The scena from Faust was far beyond Mr. Benson's very limited vocal powers, and we can but express our astonishment and regret that the directors should be so wanting in judgment as to allow such an experiment upon the patience of the subscribers. If the Philharmonic Society wishes to sustain its ancient and well-earned reputation, the worthiest things of every kind, whether in composition or performance, should alone be admitted into its programmes. Mr. Griesbach's overture to The Tempest contains some agreeable passages and clever instrumental effects, but it is deficient in imagination and originality, and cannot certainly be considered as a felicitous illustration of Shakspere's poem. Mendelssohn's First Walpurgis Night is too generally known to require any criticism. It was finely performed and loudly applauded. The rooms were densely crowded. (Morning Post, Tuesday, 7 May 1850) PHILHARMONIC SOCIETY. The fifth concert took place last evening. We subjoin the programme : - Part I. Sinfonia in F, No. 8 Beethoven. Aria con Coro, "Possenti Numi," (Il Flauto Magico) Mr. Phillips and Chorus - Mozart. Quartett, No. 81, two violins, viola, and violoncello, Messrs. Blagrove, Sainton, and Hill, and Lucas - Haydn. Recit. and aria, "'Sposa Euridice" " Che faro," (Orfeo) Miss M. Williams. - Gluck. Concerto in C minor, pianoforte, Mr. Lindsay Sloper - Mozart. Recit. and aria and Chorus, " Thou ling'ring orb," "Yes, Lovely Kunegunda," (Faust) Mr. Benson & Chorus - Spohr. Overture (MS.) Shakespeare's "Tempest" (first time of performance) J.H. Griesbach. Part II. The First Walpurgis Night.- Miss M. Williams, Mr. Benson, Mr. Phillips, and chorus - Mendelssohn Bartholdy. PHILHARMONIC SOCIETY. The programme of last night's concert (the fifth of the season), was as follows Part I. Sinfonia in F, No. 8 Beethoven. Aria con Coro, "Possenti Numi," (Il Flauto Magico) Mr. Phillips and Chorus - Mozart. Quartett, No. 81, two violins, viola, and violoncello, Messrs. Blagrove, Sainton, and Hill, and Lucas - Haydn. Recit. and aria, "'Sposa Euridice" " Che faro," (Orfeo) Miss M. Williams. - Gluck. Concerto in C minor, pianoforte, Mr. Lindsay Sloper - Mozart. Recit. and aria and Chorus, " Thou ling'ring orb," "Yes, Lovely Kunegunda," (Faust) Mr. Benson & Chorus - Spohr. Overture (MS.) Shakespeare's "Tempest" (first time of performance) J.H. Griesbach. Part II. The First Walpurgis Night.- Miss M. Williams, Mr. Benson, Mr. Phillips, and chorus - Mendelssohn Bartholdy. Beethoven's eighth symphony is familiar to every subscriber of the Philharmonic Concert, but no degree of familiarity can ever lessen its charms. The lovely scherzo, as usual was encored by acclamation. Mozart's beautiful prayer was sung by Mr. Phillips, with fine voice and solemn effect, but it seems to be taken a shade too slow, and was, consequently, a little heavy. Haydn's quartett was a delightful treat, It is one of his latest, and at the same time, most masterly productions. The work of his old age, it has even more than the vivacity of his youth; and, in many places;, the wild and exuberant imagination of Beethoven. We never heard Blagrove's silvery tone, and clear articulate execution, to greater advantage, and he was most ably supported by his three associates. Miss Williams sang Gluck's scena with great beauty of voice, and in that chaste and simple style which Gluck's music demands; had she thrown a little passion into her singing, it would have been perfect. The fair singer should study the words and consider the situation in which they are uttered by the despairing Orpheus. The lovers of the pure and the beautiful in pianoforte music were indebted to Mr. Lindsay Sloper for his selection of Mozart's C minor concerto He played it, too, exquisitely; with the utmost neatness, delicacy, and expression ; but he was not happy In his choice of an instrument. It was destitute of brilliancy and resonance ; and, in the forte passages, was quite unable to contend wish so powerful an orchestra. The scene from Spohr's "Faust " was an excellent performance on the part of Mr. Benson. His conception of it was true, and his execution vigorous and dramatic; he only required a little more vocal power to give full expression to his own ideas. Mr. Griesbach's overture was a crude unfinished production; a number of passages such as are found in many modern overtures, put in together without any coherence or unity of design. It showed, however, a knowledge of instrumental effect, and gave promise of better things with more experience; but it was not a work to produce at a Philharmonic Concert. Mendelssohn's " First Walpurgis Night," which formed, the whole second part of the concert, is now well known to the musical world from having been performed on a variety of different occasions, especially at the choral concerts given by Mr. Hullah at Exeter, Hall. We have never found choral Pieces succeed at the Philharmonic Concerts. The room is not fitted for such performances ; it is too small,. and the greatest part of the audience are too near the orchestra ; so that the effect of a great chorus, in addition to the powerful orchestra, is stunning and overpowering. It was evident last night that the audience did not enjoy the Performance, for the room was half empty before it was over. (Daily News, Tuesday, 7 May 1850) THE PHILHARMONIC SOCIETY'S CONCERTS. The fifth concert for the season of the Philharmonic Society was given last evening at the Hanover-square Rooms. It attracted the most brilliant and crowded audience hitherto commanded by the series for the present year. We subjoin the programme :- PART I. Part I. Sinfonia in F, No. 8 Beethoven. Aria con Coro, "Possenti Numi," Mr. Phillips Mozart. Quartett, No. 81, two violins, viola, and violoncello, Messrs. Blagrove, Sainton, and Hill, and Lucas - Haydn. Recit. and aria, " Che faro," Miss M. Williams. - Gluck. Concerto in C minor, pianoforte, Mr. L. Sloper - Mozart. Recit. and air, " Thou ling'ring orb," Mr. Benson - Spohr. Overture (MS.) Shakespeare's "Tempest" J.H. Griesbach. Part II. The First Walpurgis Night.- Miss M. Williams, Mr. Benson, Mr. Phillips, and chorus - Mendelssohn The unsurpassed excellence of the band, under the direction of COSTA, was signally manifested in the execution of BEETHOVEN'S symphony. The allegretto was encored. The occasional introduction of quartets at these concerts is by some persons objected to on the ground of their being heard to a disadvantage by contrast with the grander orchestral performances. We do not coincide in the objection, conceiving that at these concerts the best exemplars of each kind of music, vocal and instrumental, should from time to time be offered to the subscribers. The execution of HAYDN'S quartet by the accomplished instrumentalists to whom it was entrusted left nothing to be desired, and the applause with which it was received sufficiently evidenced that the general audience were not hypercritical, but could abstract their attention and taste from the more imposing attractions of the previous grand orchestral performance. Mr. LINDSAY SLOPER sustained his high and deserved reputation as a pianoforte player in MOZART'S Concerto, playing his portion with neatness, delicacy, firmness, and spirit. He was warmly applauded, The first part concluded, as will be seen by the programme, with a manuscript overture to SHAKESPEARE'S "Tempest," by Mr. J. HENRY GRIESBACH. This was the first time of its performance. Though not remarkable for any striking originality, this composition reflects skilfully the leading characteristics of the beautiful dramatic poem it is intended to illustrate. The music is generally descriptive rather than suggestive; and the opening movement, which is intended to convey a picture of the storm and shipwreck, is a happy and successful effort, in which there are no obvious traces of the composer having imitated other writers who have treated similar themes. As in the last concert, the vocal pieces were entrusted to native artists. Mr. HENRY PHILLIPS gave a careful but rather flat rendering of Sarastro's sublime appeal; and Mr. BENSON, who is a very pleasing singer, acquitted himself respectably in the aria from Faust, though it is somewhat above his powers. Miss M. WILLIAMS fully redeemed the character of English vocalism by her chaste and impressive rendering of the pure and melodious music of the scena from Orfeo. Always unaffected as a vocalist, this young lady adds to the natural charms of her rich and mellow voice, the merit of thoroughly feeling the music she has to interpret. The music of the First Walpurgis Nacht, with which the evening's entertainments concluded, is already familiar to the frequenters of these concerts. (Morning Chronicle (1801), Tuesday, 7 May 1850) Philharmonic Concerts. The performance of the fifth concert, which took place last night in the presence of an unusually full attendance, was exceedingly interesting, but much too long, as may be readily surmised from the following programme:- PART I. Part I. Sinfonia in F, No. 8 Beethoven. Aria con Coro, "Possenti Numi," Mr. Phillips Mozart. Quartett, No. 81, two violins, viola, and violoncello, Messrs. Blagrove, Sainton, and Hill, and Lucas - Haydn. Recit. and aria, " Che faro," Miss M. Williams. - Gluck. Concerto in C minor, pianoforte, Mr. Lindsay Sloper - Mozart. Recit. and air, " Thou ling'ring orb," Mr. Benson - Spohr. Overture (MS.) Shakespeare's "Tempest" J.H. Griesbach. Part II. The First Walpurgis Night.- Miss M. Williams, Mr. Benson, Mr. Phillips, and chorus - Mendelssohn Conductor, Mr. Costa. The four instrumental pieces in the first part, three of which are of the length of symphonies, made just one too many. We have already stated our opinion that quartets, which are essentially chamber music are out of place at concerts where a grand orchestra form the prominent attraction, and the performance of last night only served to confirm us in this impression. We do not for one instant contest the very great merits of Haydn's quartet, one of his latest and most admirable works; nor have we any fault to find with the execution of Messrs. Blagrove, Sainton, Hill, and Lucas which was as correct as possible; but, after the symphony of Beethoven, in which the resources of the orchestra are so brilliantly manifested, the effect of the four stringed instruments was pitiably small and almost succeeded in throwing a damp upon the rest of the concert. The excuse for the introduction of a quartet last night, as we have heard, was, that on a former occasion Mr. Blagrove having played second violin to M. Sainton, it was necessary to afford him an opportunity in which the places might be reversed and the English violinist become leader-in his turn. But, without intending any slight to Mr. Blagrove, we have a right to complain that tenacity in respect to position on the part of two violinists in the Philharmonic orchestra should be visited as an infliction on the public and the subscribers for we insist that it was an infliction to be obliged to listen attentively to three symphonies (quartets-and concertos being symphonies in another form) in almost immediate succession, and to come to the longest and most elaborate piece of the evening, The First Walpurgis Night, mentally and physically exhausted, so as to render a proper appreciation of its grandeur and poetical beauty almost impossible. Moreover, we confess our inability to understand that any temporary forfeiture of position can derive from holding the second violin in a quartet, since it is quite as difficult a post and quite as honourable in its way as the first. At the Beethoven Quartet Society such artists as Sivori and Vieuxtemps have played second to M. Sainton; yet no one ever presumed they lost caste by their condescension. The point in question, however, is, that chamber music is quite foreign to the present constitution of the Philharmonic Concerts - that it can be heard elsewhere with far greater effect; and that, consequently, there is no excuse for spinning out the performances to a tedious prolixity by its introduction. On this consideration, without discussing the reasons that may influence the directors, we feel called upon to condemn unconditionally the attempt to revive an old practice, which, when concerts were held in a smaller room, the programmes were differently arranged, and quartets could not be heard competently executed in other places, might have been even advisable, but which, in the actual order of things, is irrelevant and superfluous. On the whole we have rarely heard the symphony in F executed with more spirit, precision, and finish than last night under Mr. Costa's direction. Although one of the least elaborate of the nine, it is one of the most original and continually melodious - a song, from first to last, in which the invention of the composer never tires of producing phrases of the utmost fancy and beauty. The style is joyous throughout, the mysterious episode in the second part of the last movement, while contrasting strongly with what precedes and follows it, by no means departing from the general vivacity of tone, which is sustained to the end with astonishing power. The only points for criticism in the whole performance occurred in the minuetto and trio; in the former we did not altogether like the forced accentuation of the opening bars; in the latter, which is almost invariably the case, the obligato passages were more than once imperfectly rendered. We own that this trio is exceedingly difficult for certain instruments; but Beethoven was too good a judge of effect to have written what was impossible. The delicate and playful allegretto in B flat, given to perfection, was unanimously redemanded. Mr. Lindsay Sloper must be complimented for his choice of Mozart's concerto, one of the happiest efforts of its great composer. It was the first appearance of our young countryman before a Philharmonic audience. He has, nevertheless, already established himself in other places as an accomplished musician, and a master of the instrument which he professes. Mr. Sloper's performance was of the most satisfactory kind, tasteful, intellectual, and finished. His accentuation was so decisive, his time so correct, his articulation so distinct, that the orchestra, under Mr. Costa's attentive guidance, followed him with ease, and the tones of the pianoforte were clearly heard in the midst of the most elaborate instrumentation. In the first movement Mr. Sloper introduced a cadenza of his own, which displayed great musical knowledge and a thorough command of the instrument. At the same time, much as we were pleased with Mr. Sloper's cadenza, we must express our objection to the custom, ancient as it is, of interpolating long and elaborate preludes, prepared for the occasion, into the works of the classical masters. The intention of the old composers in leaving a pause at certain points of their concertos was to offer skilful players an opportunity of exercising their readiness and talent in an improvisation on the principal themes; cadenzas should, therefore, be played impromptu or abandoned altogether. It is true the talent for improvisation is exceedingly rare, and perhaps we may never hear again in our time one of those sudden bursts of inspiration which used to make the cadenzas of Mendelssohn the wonder alike of pianists and musicians. Mr. Sloper's success was most decided, and the applause bestowed upon his performance was liberal and frequent. The objection to English pianists appears to be wearing away at Philharmonic head quarters; it is likely that the warm reception accorded to Miss Kate Loder and Mr. Sloper may open the door to others of decided merit, from among whom, as there are several, it would be invidious to signalize any one in particular by name. Mr. Griesbach's overture is a composition of merit, but we failed to detect in it any poetical relation with the poem of Shakspeare which it professes to illustrate. That Mr. Griesbach is an able musician is evident. He writes with facility, and handles the orchestra like one well acquainted with its resources. This said we have said all, since his overture - which consists of an introduction, intended, we presume, as a musical picture of a storm, and an allegro chiefly remarkable for its length - offers no indications of fancy or originality, but on the other hand, suggests a more than average quantity of reminiscences. Every pains was taken by Mr. Costa to secure an effective performance the execution was really admirable; and the overture much applauded. Mr. Griesbach is one of the seven directors of the Philharmonic Society for the present year. The First Walpurgis Night, of the design and elevated merits of which we have more than once spoken in due terms of admiration, was disadvantageously placed, after such a lengthy succession of vocal and instrumental pieces. It nevertheless produced an immense sensation, and indeed we have seldom heard many parts of it more admirably executed. The opening instrumental movement in A minor, in which the composer has endeavoured to paint, by the aid of the orchestra, a storm in the Hartz mountains, clearing away at the approach of spring, was dashed off with a fiery impetuosity peculiar to the Philharmonic band, and which in certain compositions leaves it without a rival. Some of the choral effects were developed with equal force, especially the chorus of the Druid guards, "Disperse, disperse," and that of the guards and the people, "Come with torches brightly flashing," where the Druids, by feigned incantations, seek to frighten away the Christian soldiers, in order to be enabled to perform their religious ceremonies unmolested. The imagination of Mendelssohn was never more powerfully exemplified than in this chorus, and indeed the Walpurgis Night must altogether be regarded as one of the most extraordinary inspirations of his genius. We retain our opinion, however, that a larger arena is indispensable to insure the effect of which it is capable. Nothing better could be desired for the instrumental portions than the band under Mr. Costa's direction; but the chorus should be at least treble the number, a desideratum which the accommodation afforded by the Hanover-square Rooms puts out of the question. The vocal solo parts were carefully and efficiently rendered by Miss M. Williams, Mr. Benson and Mr. H. Phillips. Of the other vocal music we have little to say. Mr. Philips sang Mozart's aria impressively, and Miss M. Williams gave the "Che faro" with such fervour and feeling as to obtain the loudest applause. The air and chorus from Spohr's Faust might have been omitted with advantage. It is quite ineffective in a concert room, and was only introduced because there was a chorus at hand. It resulted from the superabundance of good things that the audience were vexatiously disturbed during the performance of the Walpurgis Night by persons leaving the room, and celebrating their departure with a more than ordinary degree of noise. The Philharmonic directors should learn to apply the adage, "Enough is as good as a feast." We should then have shorter programmes, and probably better concerts. (The Times, Tuesday, 7 May 1850) THE MUSICAL EXAMINER. PHILHARMONIC CONCERTS. Fifth Concert, Monday, May 6. PART 1. Sinfonia in F, No. 8 Beethoven. Aria con Coro, " Possenti Numi " (Il Flauto Magico), Mr Phillips and Chorus - Mozart. Quartet, No. 81, Two Violins, Viola, and Violoncello, Messrs Blagrove, Sainton, Hill, and Lucas - Haydn. Recit. and Aria, "Che faro" (Orfeo), Miss M. Williams - Gluck. Concerto in C Minor, Pianoforte, Mr Lindsay Sloper - Mozart. Recit., Air, and Chorus, " Yes, lovely Kunegunda " (Faust), Mr Benson and Chorus - Spohr. Overture (MS.) Shakspeare's Tempest - J. H. Griesbach. (First time of performance) PART II. The First Walpurgis Night. - Miss M. Williams, Mr Benson, Mr. Phillips, and Chorus - Mendelssohn Bartholdy. This was by far the most agreeable concert of the season, and drew the fullest audience, notwithstanding the inclemency of the weather. To what we have on former occasions said of Beethoven's eighth symphony, we may now add that it must have been written when his mind was temporarily relieved from that depression under which he too commonly suffered, for it sparkles throughout with a gaiety which bears every mark of spontaneity; and the artist seems here to have given birth to great effects with little, if any, assistance of labour: it is one of his works in which the originality of his conceptions is marked in a manner that cannot be disputed. Mozart's Concerto may be described as a happy union of the symphony and the Concertante, the whole having an obligato part for the pianoforte. Tenderness expressed in lovely melody is the leading feature of this very charming composition, though there is no want of grandeur in what is allotted to the full orchestra. The last movement of the three, an allegretto in C minor, will ever be counted among the chefs-d'oeuvre of the author. It was admirably performed in all respects. Mr Lindsay Sloper, to whose share the most important part fell, did his duty in a manner that left nothing to be wished. He brought to our recollection the performance of this same concerto, in the same room, a few years ago, by John Cramer, and it is hardly in the power of language to pay him a higher or more richly-deserved compliment. The Quartet was gladly received, not only for its own sake, and on account of its high merits, but as diversifying in a pleasant manner the program. The error too obvious in most of these concerts is want of contrast-of relief. The rule seems to be, to give a grand symphony, a grand overture, and a grand concerto, all embracing the whole power of the band, in each act. The vocal pieces also have generally the fullest accompaniments. Thus the ear has no repose, and before the performance is over, is, in most instances, thoroughly jaded, and loses all power of nice discrimination. A quartet affords every pleasure that harmony can yield, and at the same time gives an opportunity for the display of the talents of four artists, all of whom, generally speaking, are men of consummate ability, each in his particular department; a brilliant example of which was exhibited in the present case, particularly as relates to the first violin, Mr Blagrove displaying a refinement in taste and a silvery beauty of tone, which are his well-known attributes: but he now added a vigour in style and a power of bow which we have sometimes reckoned among his desiderata. The Adagio in this,-full of deep passionate feeling, has no superior, if an equal, in point of effect, and was executed in a manner not to be surpassed, At the conclusion the loud and sincere applause of the audience evinced their appreciation, of the work and performers of it, leaving no doubt of their approbation of this species of instrumental music, and of its fitness as an ingredient in every Philharmonic Concert. The MS. overture is one of those things which any musician who understands the purely mechanical part of a composition, and who carries in his memory quantum sufficit of the periods and phrases of different composers, might produce. In it we could discover nothing to account for its having been brought forward here, until we learnt that the author is one of the directors of the society, an institution certainly not formed for the trial of such experiments. The vocal portion was all of the best kind. The preghiera and chorus from the Flauto Magico (die Zauberflute), a sublime conception, was ably given by Mr Phillips, though he wants depth and power for the low notes. Indeed, it is rare to meet with a bass voice quite equal to this. Miss M. Williams sang the fine, the feeling aria from Gluck's Orfeo most charmingly. It only wanted a few modest ornaments to make it quite perfect. Mr Benson gave the scene from Faust with infinite spirit, and with as much effect as it could be made to produce off the stage. Of the great work, "The First Walpurgis Night," (Goethe's romantic scene founded on a German legend) it is only necessary now to say, that it was performed in as perfect a manner as is possible in a concert-room. All parts, the choral especially, were excellent. And we may here remark, that the occasional introduction of chorus imparts a most reasonable and beneficial variety to these performances, relieving them from that sameness to which they are, from their constitution, rather liable. (Examiner, Saturday, 11 May 1850) PHILHARMONIC CONCERTS. - The fifth of these fine concerts took place on Monday evening. All the artists sustained their well-merited reputations. We have no room to particularize the separate portions of the performance - on the whole it was a very excellent concert, and contained great variety, as the following programme will show:- PART I. Sinfonia in F, No.8 - Beethoven. Aria con Coro, "Possenti Numi"("Il Flauto Magico ") Mr. Phillips and chorus - Mozart. Quartet, No. 81, two violins, viola, and violoncello, Messrs. Blagrove, Sainton, Hill, and Lucas - Haydn. Recit., "Sposa, Euridice;" aria," Che faro" ("Orfeo"), Miss M. Williams - Gluck. Concerto in C minor, pianoforte, Mr. Lindsay Sloper - Mozart. Recit., "Thou ling'ring orb;" air and chorus, "Yes, lovely Kunegunda" ("Faust"), Mr. Benson and chorus - Spohr. Overture (MS.), Shakspere's "Tempest" (first time of performance) - Griesbach. PART II. The First Walpurgis Night, Miss M. Williams, Mr. Benson, ;Mr. Phillips, and chorus - Mendelssohn. The room was densely crowded. (The Lady's Newspaper & Pictorial Times, Saturday, 11 May 1850) The fifth Philharmonic Concert took place on Monday last. Its only remarkable feature was Mendelssohn's First Walpurgis Night, which occupied the whole second act of the concert. It was injudiciously chosen, and proved ineffective. A great choral work requires a vast locality, like Exeter Hall, where this piece has been repeatedly performed with success. But in a small place like the Hanover-square Rooms such masses of sound only oppress and stun the listener. That such was the effect on this occasion was evident enough; for a large portion of the audience dropped off before the conclusion. The singers were Mr. H. Phillips, Mr. Benson, and Miss M. Williams, all of whom acquitted themselves ably, and sustained the honour of English art. So did Mr. Lindsay Sloper, who appeared for the first time at these concerts, and performed Mozart's fine pianoforte concerto in C minor in a manner which could bear an advantageous comparison with any of his foreign rivals. The audience, by their applause, showed their full appreciation of his merit. (John Bull, Saturday, 11 May 1850) (Also: John Bull, Saturday, 11 May 1850; John Bull, Monday, 13 May 1850.) PHILHARMONIC SOCIETY. The instrumental pieces of the fifth programme were all crowded into the first part, which opened with Beethoven's eighth Symphony in F; next in rotation, only interrupted by Mozart's aria and chorus from II Flauto Magico, "Possenti Numi," impressively sung Mr. Phillips, was Haydn's quartet No. 81, executed by Blagrove, Sainton, Hill, and Lucas : then, after the Che faro," from Gluck's "Orfeo," excellently sung by Miss W. Williams, came Mozart's pianoforte concerto in C minor, performed by Mr. Lindsay Sloper; and after an air and chorus from Spohr's "Faust," "Yes! lovely Kunegunda," sung by Mr. Benson, this lengthy part was with a MS. overture Mr. J. H. Griesbach, entitled "The Tempest." We have, on a former occasion, questioned the policy of introducing quartets at these concerts; and the effect produced on this last occasion, despite of the undoubted skill of the executants, more than ever convinces us that nothing tends to render scheme more thoroughly wearisome, and is more destructive of an auditory's enthusiasm, than to have a quatuor played between a symphony and overture. Chamber compositions are quite out of place in the large concert-room, in which grand orchestral combinations are presented, and we are satisfied that very few of the Philharmonic subscribers relished this second infliction in one season. With this exception, the concert was excellent. The symphony was exquisitely executed, the allegretto scherzando being unanimously encored; the minuetto was also delicately played ; and the terrible intricacies for the wood and brass in the trio cleverly attacked. The overture, if not an inspiration of genius, was in spirited sympathy with its subject. The concerto was performed classically and elegantly, and the cadenza was imbued with the Mozartian spirit. We never listen to the "Walpurgis Night" without regretting that it has not been put in action ; so thoroughly picturesque is the music, and so dramatic is Goethe's magnificent poem, it would make a startling drama. The overture, descriptive of the storm and approach of spring, was finely rendered. The chorus "Disperse" was most exciting, and the one in G minor, in which the wild and grotesque figures are made to scare the Christian host, so varying in time and theme, was sung with great precision. The chorale was glorious outbreak of rich harmony, in the Bach forms. The entire execution of this work was highly creditable to the feeling and intelligence of the vocal and orchestral forces under Costa's energetic direction. (Illustrated London News, Saturday, 11 May 1850) Philharmonic Society. The Philharmonic held their fifth evening on Monday. The concert was an unconscionably long one, the first part comprising of itself Beethoven's Sinfonia in F; Haydn's Quartett, No. 81 ; Mozart's Concerto in C Minor ; and a MS. Overture to the Tempest by M. Griesbach. The latter composition was introduced for the sake of novelty ; it was not up to the mark, but the directors had nothing better to offer, if they must offer something new. The Quartett was chosen because on a former occasion Mr. Blagrove played second fiddle to M. Sainton's first, and it was but fair to return the compliment. This may be very satisfactory to the performers, but the reason is scarcely a fair one to the audience. Mozart's Concerto was exquisitely played by Mr. Lindsay Sloper, who made his bow on the occasion. The second part was entirely devoted to Mendelssohn's Walpurgis Night. The audience were tired, and scarcely up to appreciating the beauties of this recondite composition, and the room was, and the room was empty before it was half over. (Atlas, Saturday, 11 May 1850) PHILHARMONIC CONCERT - The ?rst act of Monday's Concert commenced with Beethoven's lovely and fanciful Symphony in F; the other three instrumental pieces were "leather and prunella" - the pretensions, purpose and powers of the establishment considered. The Philharmonic Directors show themselves resolute in mismanagement with a steadiness worthy of a better cause. Like the Irish gentlewoman reduced to cry in the streets mutton pies - who perpetually added to her cry " I hope nobody hears me" - they cling whimsically to every old-fashioned placebo which can compensate for inevitable improvements. They seem unable to commit an act of progress without atoning for the same by some expiratory piece of retrogression. Having discreetly appointed the best Conductor in Europe, they give up all pretext at trial of new music. To prove the sincerity of their repentance over the amended state of their orchestra, they have this spring racked their ingenuity as far as possible to deprive their solos of interest and variety. With enlarged resources, they seem humbly retiring into the dimensions of a hole-and-corner association for the support of mediocrity. The above censure is emphatically claimed by the in?iction of one of Haydn's most hackneyed Quartetts on Monday. The grandest composition of this family is on every principle of sound taste indefensible at an orchestral concert. But, as if to try patience to its utmost, the players were not the best within reach; and (supposing it a Median and Persian law that certain players must he heard, let the claims of others be what they will) they had already been liberally exhibited this spring. No courtesy to four meritorious instrumentalists should screen the Directors from the most unsparing reproof - as a body acting with an exclusiveness discreditable to themselves and to the concert which they profess to manage - Their vanity, by keeping national progress back, is as objectionable as the venality which would thrust foreign incompetence forward. Sooner or later its baneful effects are sure to be felt. The other solo was Mozart's P.F. Concerti in C minor, played by Mr. Lindsay Sloper, who played it well. but, as we remarked on the occasion of his Concert last Spring [vide Ath. No. 1124], it is a concerto ?t for an Ancient Concert - and even there, would sound more obsolete than the more frankly antique music of the Scarlattis and Bachs - The opening allegro wants the animating hand and the improvisatory fantasy of a Mendelssohn to give it such brightness and interest as we now-a-days expect. The over-frequent repetitions of the melody in the slow movement would gain by the judicious use of ornament, - and we should hardly accept him as a wise composer now-a-days who by way of suite to such a largo threw his ?nale into the form of an air with variations, virtually reducing two-thirds of the Concerto to two airs, with "changes." -- It is absurd to speak of such a piece as the best which could have been given. We are glad, however, after such well-merited complaint, to record that one pianoforte novelty may be expected ere the season ends, in the shape of a new P.F. Concerto by M. Benedict - We hoped, by the way, to have heard his new Fest Overture during the series. The ?rst act was closed by a new MS. overture to 'The Tempest,' the composition of Mr. Griesbach. That there is not much in a name Shakspeare has told us; but since Mr. Griesbach chose a title which calls up visions of a storm and a seer, of Ariel and Caliban, we expected something elvish and fantastic in composition, and were disappointed by what was proffered instead, - an overture in places clever and brilliant, but patchy and wanting character and freshness of idea - which should hardly have been promoted to the programmes of a concert where it seems as if no place can be found for any recognized or untried composition by Mr. Macfarren. It was a piece of Philharmonic Direction, to perform the 'First Walpurgis Night' of Mendelssohn after patience had been worn out and spirit washed away by a ?rst act so long and uninteresting. The 'Cantata was superbly performed. Our players are now beginning to relish the opening 'Foul Weather' symphony, with its delicious " breathings of Spring" gathering and swelling into the lovely May Chorus (an introduction to rank with the lovely ?rst choruses in ' Euryanthe' and in 'Guillaume Tell' - and the consequence is, that our audiences are beginning to understand and enjoy in proportion. The subsequent portions of the Cantata, too, were delivered with great force, intelligence and spirit. The singers were Miss M. Williams, Mr. Benson and Mr. Phillips. (The Athenaeum, Saturday, 11 May 1850) Philharmonic Concert. - The fifth was given on Monday. The instrumental performances consisted of the sinfonia in F, No. 8, Beethoven; Haydn's quartet No. 81, by Blagrove, Sainton, Hill, and Lucas; Mozart's concerto in C minor, pianoforte and orchestra by Lindsay Sloper; MS. overture, J. H. Griesbach, The Tempest. The second part consisted wholly of Walpurgis's night. This was the first appearance of Mr. L. Sloper at these concerts, and his success was of the best order; he introduced a cadenza of his own in the concerto, which was admirably executed, and the performance was highly applauded. In purity of style and conscientiousness of treatment Mr. Sloper ranks very high among our pianists. (The Literary gazette : A weekly journal of literature, science, and the fine arts, Saturday, 11 May 1850) PHILHARMONIC CONCERTS. THE fifth concert, which took place on Monday night in the presence of an unusually full attendance, was exceedingly interesting, but much too long, as may be surmised from the following programme :- PART I. Sinfonia in F, No. 8 - Beethoven. Aria con Coro, "Possenti Numi" (Il Flauto Magico), Mr. Phillips and chorus - Mozart. Quartett, No. 81, two violins, viola, and violoncello, Messrs. Blagrove, Sainton, Hill, and Lucas - Haydn. Aria, "Che faro" (Orfeo), Miss M. Williams - Gluck. Concerto in C minor, pianoforte, Mr. Lindsay Sloper - Mozart. Air and chorus, "Yes, lovely Kunegunda" (Faust), Mr. Benson and Chorus - Spohr, Overture (MS.) Shakspere's Tempest" J. Henry Griesbach, (First time of performance.) PART II. The First Walpurgis Night - Miss M. Williams, Mr. Benson, Mr. Phillips, and chorus - Mendelssohn. Conductor, Mr. Costa. The four instrumental pieces in the first part, three of which are of the length and importance of symphonies, made just one too many. We have already stated our opinion that quartets, which are essentially chamber music, are out of place at concerts where a grand orchestra forms the prominent attraction; and the performance of Monday night only served to confirm us in this impression. We do not for one instant contest the very great merits of Haydn's quartet, one of his latest and most admirable works; nor have we any fault to find with the execution of Messrs. Blagrove, Sainton, Hill, and Lucas, which was as correct as possible; but, after the symphony of Beethoven, in which the resources of the orchestra are so brilliantly developed, the effect of the four stringed instruments was pitiably small, and almost succeeded in throwing a damp upon the rest of the concert. The excuse for the introduction of a quartet at this concert, as we have heard, was, that on a former occasion Mr. Blagrove having played second violin to M. Sainton, it was necessary to afford the Englishman an opportunity in which, the places being reversed, he might become leader in his turn. But, without intending any slight to Mr. Blagrove, we have a right to complain that tenacity in respect to position on the part of two violinists in the Philharmonic orchestra should be visited as an infliction on the public and the subscribers - for we insist that it was an infliction to be obliged to listen attentively to three symphonies (quartets and concertos being symphonies in another form) in almost immediate succession, and to come to the longest and most elaborate piece of the evening, The First Walpurgis Night, mentally and physically exhausted, so as to render a proper appreciation of its grandeur and poetical beauty almost impossible. Moreover, we confess our inability to understand that any temporary forfeiture of position can derive from holding the second violin in a quartet, since it is as difficult a post and as honourable in its way as the first. At the Beethoven Quartet Society such artists as Sivori and Vieuxtemps have played second to M. Sainton; yet no one ever presumed they lost caste by their condescension. The point in question, however, is, that chamber music is quite foreign to the present constitution of the Philharmonic Concerts ; that it can be heard elsewhere with far greater effect ; and that, consequently, there is no excuse for spinning' out the performances to a tedious prolixity by its introduction. On this consideration, without discussing the reasons that may influence the directors, we feel called upon to condemn unconditionally the attempt to revive an old practice, which, when the concerts were held in a smaller room, and the programmes were differently arranged, and quartets could not be heard competently executed in other places, might have been even advisable, but which, in the actual order of things, is irrelevant and superfluous. En passant, it may be worthy noticing that Mr. Blagrove and M. Sainton have each appeared three times at the Philharmonic this season. Molique is in London, nevertheless; to say nothing of Ernst. On the whole we have rarely heard the symphony in F executed with more spirit, precision, and finish than on Monday night under Mr. Costa's direction. Although one of the least elaborate of the nine, it is one of the most original and continuously melodious - a song, from first to last, in which the invention of the composer never tires of producing phrases of the utmost fancy and beauty. The style is joyous throughout, the mysterious episode in the second part of the last movement, while contrasting strongly with what precedes and follows it, by no means departing from the general vivacity of tone, which is sustained to the end with astonishing power. The only points for criticism in the whole performance occurred in the minuetto and trio; in the former we did not altogether like the forced accentuation of the opening bars ; in the latter, which is almost invariably the case, the obligato passages were more than once imperfectly rendered. We own that this trio is exceedingly difficult for certain instruments; but Beethoven was too good a judge of effect to have written what was impossible. We are compelled, therefore, to assign the obstinate imperfection which has for many years attended the execution of this trio to negligent rehearsal or indifference, neither of which is intelligible where Beethoven is concerned. The delicate and playful allegretto in B flat, given to perfection, was unanimously redemanded. Mr. Lindsay Sloper must be complimented for his choice of Mozart's concerto, one of the happiest efforts of its great composer. It was the first appearance of our young countryman before a Philharmonic audience. He has, nevertheless, already established himself in other places as an accomplished musician, and a master of the instrument which he professes. Mr. Sloper's performance was one of the most satisfactory kind, tasteful, intellectual, and finished. His accentuation was so decisive, his time so correct, his articulation so distinct, that the orchestra, under Mr. Costa's attentive guidance, followed him with ease, and the tones of the pianoforte were clearly heard in the midst of the most elaborate instrumentation. In the first movement Mr. Sloper introduced a cadenza of his own, which displayed great musical knowledge and a thorough command of the instrument. At the same time, much as we were pleased with Mr. Sloper's cadenza, we must express our objection to the custom, ancient as it is, of interpolating long and elaborate preludes, prepared for the occasion, into the works of the classical masters. The intention of the old composers in leaving a pause at certain points of their concertos was to offer skilful players an opportunity of exercising their readiness and talent in the improvisation on the principal themes ; cadenzas should, therefore, be played impromptu or abandoned altogether. It is true the talent for improvisation is exceedingly rare, and perhaps we may never hear again in our time one of those sudden bursts of inspiration which used to make the cadenzas of Mendelssohn the wonder alike of pianists and musicians. Mr. Sloper's success was most decided, and the applause bestowed upon his performance was liberal and frequent. The objection to English pianists appears to be wearing away at Philharmonic head quarters ; it is likely that the warm reception accorded to Kate Loder and Mr. Sloper may open the door to others of decided merit, from among whom, as there are several, it would be invidious to signalise any one in particular by name. Mr. Griesbach's overture is a composition of merit, but we failed to detect in it any poetic relation with the poem of Shakspere which it professes to illustrate. That Mr. Griesbach is an able musician is evident. He writes with facility, and handles the orchestra like one well acquainted with its resources. This said we have said all, since his overture -- which consists of an introduction, intended, we presume, as a musical picture of a storm, and an allegro chiefly remarkable for its length - offers no indications of fancy or originality, but on the other hand, suggests a more than average quantity of reminiscences. Every pains was taken by Mr. Costa to secure an effective performance; the execution was really admirable; and the overture much applauded. Mr. Griesbach is one of the seven directors of the Philharmonic Society for the present year. The First Walpurgis Night, of the design and elevated merits of which we have more than once spoken in due terms of admiration, was disadvantageously placed, after such a lengthy succession of vocal and instrumental pieces. nevertheless created a profound impression, and indeed we have seldom heard many parts of it more efficiently executed. The opening instrumental movement in A minor, in which the composer has endeavoured to paint, by the aid of the orchestra, a storm in the Hartz mountains, clearing away at the approach of spring, was dashed off with a fiery impetuosity peculiar to the Philharmonic band, and which in certain compositions leaves it without a rival. Some of the choral effects were developed with equal force, especially the chorus of the Druid guards, "Disperse, disperse," and that of the guards and the people, "Come with torches brightly flashing," where the Druids, by feigned incantations, seek to frighten away the Christian soldiers, in order to be enabled to perform their religious ceremonies unmolested. The imagination of Mendelssohn was never more powerfully manifested than in this chorus, and indeed the Walpurgis Night must altogether be regarded as one of the most extraordinary inspirations of his genius. We retain our opinion, however, that a larger arena is indispensable to insure the effect of which it is capable. Nothing better could be desired for the instrumental portions than the band under Mr. Costa's direction ; but the chorus should be at least treble the number, a desideratum which the accommodation afforded by the Hanover-square Rooms puts out of the question. The vocal solo parts were carefully and efficiently rendered by Miss M. Williams, Mr. Benson, and Mr. H. Phillips, Of the other vocal music we have little to say. Mr. Phillips sang Mozart's aria impressively, and Miss M. Williams gave the "Che faro" with such fervour and feeling as to obtain the loudest applause. The air and chorus from Spohr's Faust might have been omitted with advantage. it is ineffective in a concert-room, and was only introduced because there was a chorus at hand. It resulted from the superabundance of good things that the audience were vexatiously disturbed during the performance of the Walpurgis Night by persons leaving the room, and celebrating their departure with a more than ordinary degree of noise. The Philharmonic directors should learn to apply the adage, "Enough is as good as a feast." We should then have shorter programmes, and probably better concerts. (The Musical world, Saturday, 11 May 1850) Einen Genuß gewährte das Mozartische Pianoforte-Concert in C-Moll, von Lindsay Sloper mit reichem schönen Anschlage, gemüthlicher, zarter Auffassung und gänzlicher Sicherheit vorgetragen. Weniger gefiel das D-Moll-Concert, durch Thalberg erecutirt, wohingegen Variationen desselben über die Barcarolle aus dem Elixir Furore machten, insbesondere beim Damenpublikum. Gehören indeß solche Compositionen in diese Concerte? Ein Trio für zwei Violoncells und Contrabaß von Corelli, in welchem der über 50 Jahre alte Veteran der Violloncellisten Lindley zum letzten Male öffentlich auftrat, wurde interessant durch die Veranlassung. Es mußte wie" derholt werden; Lindley seit 5O Jahren Liebling des Publikums spielte mit größter Sicherheit. (Neue Zeitschrift für Musik, Tuesday, 30 July 1850) Tuesday, 14 May 1850 : Miss Dolby and Mr. Lindsay Sloper's Annual Grand Morning Concert at Hanover-Square Rooms. MISS DOLBY and Mr. LINDSAY SLOPER beg to announce that their ANNUAL GRAND MORNING CONCERT will take place on TUESDAY, the 14th inst., to commence at Two o'clock precisely. Vocalists- Miss Catherine Hayes. Miss Dolby and Miss Birch ; Signor Marras and Signor Marchesi. Instrumentalists- Signor Piatti, Messrs. H. C. Cooper and Lindsay Sloper. The orchestra will be complete in every department. Leader, Mr. Willy ; Conductors, Messrs. Benedict and Lavenu. Tickets, 7s. each, may be had of all the principal Music Sellers : stalls. 10s. 6d of Miss Dolby, 2, Hunter-street, Manchester-square, and of Mr. Lindsay Sloper, 7, Southwick-place, Hyde Park-square. (The Times, Saturday, 4 May 1850) (Also: Examiner, Saturday, 11 May 1850; The Musical world, Saturday, 11 May 1850; Daily News, Friday, 10 May 1850; Morning Chronicle (1801), Friday, 10 May 1850; Examiner, Saturday, 11 May 1850; Morning Post, Friday, 10 May 1850; The Times, Tuesday, 7 May 1850; Daily News, Monday, 6 May 1850; Morning Chronicle (1801), Monday, 6 May 1850; Morning Post, Monday, 6 May 1850; Daily News, Wednesday, 8 May 1850; Morning Post, Wednesday, 8 May 1850.) MISS DOLBY and Mr. LINDSAY SLOPER beg to announce that their ANNUAL GRAND MORNING CONCERT Will take place at the HANOVER SQUARE ROOMS, on Tuesday, the 16th inst. to commence at Two o'clock precisely. Vocalists :-- Miss Catherine Hayes, Miss Dolby, and Miss Birch. - Signor Marras and Signor Marchesi. Instrumentalists: - Signor Piatti, Messrs. H. C. Cooper and Lindsay Sloper. The orchestra will be complete in every department. Leader. Mr. Willy. Conductors, Messrs. Benedict and Lavenu. - Tickets 7s. each. may be had of the principal Musicsellers; Stalls, 10s. 6d.; - to be procured only of Messrs. Cramer & Beale,201, Regent-street; Miss Dolby, 2, Hinde-street, Manchester Square. and Mr. Lindsay Sloper, 7, Southampton Place, Hyde Park square. (Illustrated London News, Saturday, 11 May 1850) Next Tuesday, Miss Dolby and Mr. Lindsay Sloper will give their morning concert. (Illustrated London News, Saturday, 11 May 1850) MISS DOLBY and Mr. LINDSAY SLOPER beg to announce that their ANNUAL GRAND MORNING CONCERT Will take place at the HANOVER SQUARE ROOMS, on Tuesday, the 14th inst. to commence at Two o'clock precisely. Vocalists :-- Miss Catherine Hayes, Miss Dolby, and Miss Birch. - Signor Marras and Signor Marchesi. Instrumentalists: - Signor Piatti, Messrs. H. C. Cooper and Lindsay Sloper. The orchestra will be complete in every department. Leader. Mr. Willy. Conductors, Messrs. Benedict and Lavenu. - Tickets 7s. each. may be had of the principal Musicsellers; Stalls, 10s. 6d.; - to be procured only of Messrs. Cramer & Beale,201, Regent-street; Miss Dolby, 2, Hinde-street, Manchester Square. and Mr. Lindsay Sloper, 7, Southampton Place, Hyde Park square. (The Athenaeum, Saturday, 11 May 1850) MISS DOLBY and Mr. LINDSAY SLOPER beg to announce that their ANNUAL GRAND MORNING CONCERT will take place at the Hanover-square Rooms, TO-MORROW, to commence at Two o'clock precisely. Vocalists-Miss Catherine Hayes, Miss Dolby, and Miss Birch, Signori Marras and Marchesi. Instrumentalists-Signor Piatti, Messrs. H. C. Cooper and Lindsay Sloper. The orchestra will be complete in every department. Leader, Mr. Willy; conductors, Messrs. Benedict and Lavenu. Tickets, 7s. each, may be had at the principal music-sellers'; stalls, 10s. 6d., to be had only of Messrs. Cramer and Beale, 201, Regent-street; of Miss Dolby, 2, Hinde-street, Manchester-square; and Mr. Lindsay Sloper, 7, Southwick-place, Hyde-park-square. (Morning Chronicle (1801), Monday, 13 May 1850) (Also: Morning Post, Monday, 13 May 1850.) MISS DOLBY and Mr. LINDSAY SLOPER beg to announce that their ANNUAL GRAND MORNING CONCERT will take place at the Hanover-square Rooms, THIS MORNING, May 14th, to commence at Two o'clock precisely. Vocalists-Miss Catherine Hayes, Miss Dolby, and Miss Birch, Signori Marras and Marchesi. Instrumentalists-Signor Piatti, Messrs. H. C. Cooper and Lindsay Sloper. The orchestra will be complete in every department. Leader, Mr. Willy; conductors, Messrs. Benedict and Lavenu. Tickets, 7s. each, may be had at the principal music-sellers'; stalls, 10s. 6d., to be had only of Messrs. Cramer and Beale, 201, Regent-street; of Miss Dolby, 2, Hinde-street, Manchester-square; and Mr. Lindsay Sloper, 7, Southwick-place, Hyde-park-square. (Daily News, Tuesday, 14 May 1850) HANOVER-SQUARE ROOMS. The annual concert of Miss Dolby and Mr. Lindsay Sloper took place yesterday morning. Some of the best vocal talent of the day had been secured for the occasion, and an efficient orchestra provided. We have so frequently eulogised the abilities of the concert-givers, that it would be a work of supererogation for us now to dilate upon them ; we may, however, state that their performances on this occasion afforded additional evidence of their artistic excellence, while the crowded state of the rooms and the applause bestowed upon their efforts sufficiently proved the very high estimation in which they are held by the public. (Morning Post, Wednesday, 15 May 1850) HANOVER-SQUARE ROOMS. The annual partnership concert of Miss Dolby and Mr. Lindsay Sloper took place on Tuesday morning at the Hanover-square Rooms. This matinée is usually one of the very best of the season, the selection being always classical in tone, the performers of the highest merit, the orchestral adjuncts full and complete, and the attendance brilliant. All these points of distinction were observable yesterday; and the two excellent artists who were again associated in a common cause were patronised handsomely - though not more so than they deserved. The programme was well stored with attractions. The vocal portion was undertaken by Miss Dolby herself, aided by Miss Catherine Hayes, Miss Birch, Mr. Benson, and Signor Marchesi. Miss Dolby was in admirable voice, and sang several times in the course of the morning. Her delivery of the " Bella imago," with Signor Marchesi, was finely and dramatically conceived, though somewhat slower than we usually hear it upon the stage. By and bye she gave an able version of Mercadante's "A te riede." Meyerbeer's " Parmi les pleurs" was also in her repertoire, besides the pair of pretty duets by Mendelssohn, " The Sabbath Morn," and " The Harvest Field," which she and Miss Catherine Hayes rendered charmingly - her list closing with certain national songs, which she always sings with exquisite archness and simplicity, though upon this occasion we did not stay to hear them. Mr. Lindsay Sloper played the D minor concerto of Mendelssohn in a style that could not be excelled, exhibiting therein the remarkable clearness and elasticity of his touch, as well as the true musician's intelligence - a quality in which his performances, we may add, are never deficient. In the second part he introduced a group of pieces of his own - namely, a slight, but elegant, serenade, a study in A major, and a galop - a series that largely betokened the graceful fertility of his imagination and his competency and judgment as a writer for the piano-forte. Among the miscellaneous matters, the execution by Miss Catherine Hayes of Mozart's "Non mi dir" was entitled to commendation. Miss Birch was not so successful in the " Tanti affetti" of Rossini, upon which she hung some ill-formed cadences, not detailed too accurately in tune. A larghetto movement by Mozart, beautifully sung by Piatti on the violincello, and a violin solo by Mr. H. C. Cooper, were among the best features of the concert. The band, which was composed of the elite of the Philharmonic orchestra, was led by Mr. Willy. The overtures to Egmont and Faust were given with a vividness and precision not often equalled. The conductors were Messrs. Benedict and Lavenu. (The Standard, Thursday, 16 May 1850) The Concert of Miss Dolby and Mr Lindsay Sloper is always remarkable for tasteful selection, and the best arrangement and execution. Miss Dolby sang several times with delightful ease and dramatic expression, and was well supported by Miss Hayes, and other English singers. Mr Lindsay Sloper is one of the best of our living performers of classical music, and gave new evidence of his skill and taste on this occasion. (Examiner, Saturday, 18 May 1850) Miss Dolby and Mr. Lindsay Sloper had their annual concert at the Hanover-square Rooms on Tuesday morning. They were assisted by a number of the most eminent performers, both vocal and instrumental, and the entertainment was elegant and agreeable. They themselves were received by a crowded audience in a manner due to their distinguished merit. (John Bull, Saturday, 18 May 1850) (Also: John Bull, Saturday, 18 May 1850; John Bull, Monday, 20 May 1850.) MISS DOLBY AND MR. SLOPER'S CONCERT. - Miss Dolby with Mr. L. Sloper, gave [?] concert in the Queen's Concert-rooms, Hanover-Square. The orchestra; was led by Mr. Willy in his best style. Miss Dolby's voice (as is well known) is a perfectly pure contralto, .and the songs and duets selected were done ample justice to. Amongst them were Rossini's duet (With the young vocalist, Signor Marchese), "Bella Imago; " "Parmi le Fleurs," from "The Huguenots ;" Irish and Scotch ballads; and, with Miss Catherine Hayes, the two beautiful duets by Mendelssohn, "The Sabbath Morn," and "The Harvest-field," excellently sung by both ladies. Miss Hayes also sang "Non mi dir," from "Don Giovanni," very finely. Mr. Sloper's instrumentation is too well known to require any praise. He played several of his own compositions, as well as Mendelssohn's celebrated concerto in the key of D minor, with great effect. Signor Piatti, on the violoncello, and the other performers, were justly and loudly applauded; that is, as loudly as fashionable audiences can be imagined to applaud. The room was crowded, and the concert throughout excellently arranged and conducted. (The Lady's Newspaper & Pictorial Times, Saturday, 18 May 1850) On Wednesday Miss Dolby and Mr. Lindsay Sloper gave their annual morning concert at the Hanover Rooms, which were quite filled. Miss Dolby sang (with Signor Marchesi) the duetto, "Bella imago," from Rossini's "Semiramide," Mercadante's air "A te riede," Meyerbeer's romance of "Valentine," from the Huguenots," an Irish ballad, a Scotch song, and, with Miss Catherine Hayes, two of Mendelssohn's duets, "The Sabbath Morn" and "The Harvest Field." Whether as the simple ballad-singer, the classical exponent of the German school or of the impassioned Italian style, Miss Dolby displayed her rich unctuous organ to the fullest advantage. No vocalist has more steadily progressed than this gifted artiste, her musical accent is now perfection. Mr. L. Sloper gave a touch of his quality as a classic pianist in Mendelssohn's Concerto in minor, and as a composer in a Serenade, Study in A and Galop-three of his very clever productions. Signor Piatti played a larghetto by Mozart, and Mr. H. C. Cooper the first movement of one of Viotti's concertos ; and Miss Catherine Hayes, Miss Birch, Messrs. Benson and Smythson, and Signor Marras, aided in this attractive concert, of which Benedict and Lavenu were conductors. Mr. Willy's band was also engaged. (Illustrated London News, Saturday, 18 May 1850) (Also: Illustrated London News, Saturday, 18 May 1850.) Miss Dolby and Mr. Lindsay Sloper gave rather an elegant concert, as Paddy would call it, at the Hanover-square Rooms, on Tuesday morning. The room was full, and well disposed for enjoyment. The best thing in the selection was the performance by Piatti of a most exquisite violoncello solo, by Mozart. Mr. Sloper played Mendelssohn's concerto in D minor, a performance redeemed by two beautiful passages from total heaviness and mediocrity. Miss Dolby sang well. What makes her take such a fancy to Mercadante ? Miss Hayes was charming in Non mi diu. Altogether it was a very satisfactory affair. (Atlas, Saturday, 18 May 1850) Miss Dolby and Mr. Sloper's Concert was given on Tuesday morning at the Hanover-square rooms. The companionism of these two best of our native school is a very happy one, and affords always a very successful and gratifying entertainment. Miss Dolby has for a long time stood at the head of our English gingers, whether it be in interpreting the sacred beauties of Handel or Mendelssohn, in executing the bravuras of Rossini, or singing the charming Cantilene of Bellini, and many of our own delightful ballads ; in all she is excellent, tasteful, and correct. On this occasion she favoured us with the difficult bravura from Semiramide, "va superbo" - the aria of Mercadante's "a te nede " - a romance in French, from the Huguenots, "parmi les fleurs," and an Irish and Scotch ballad. Miss Hayes and Miss Birch, Mr. Symthson, Mr. Benson, Signor Marchesi, and Signor Marras, lent their aid as vocalists, and Piatta and Mr. Cooper as solo instrumentalists. Mr. Sloper exhibited his skill in Mendelssohn's D minor concerto, (Pianos forte and Orchestra), and in some of his own compositions. (The Literary gazette : A weekly journal of literature, science, and the fine arts, Saturday, 18 May 1850) MISS DOLBY AND MR. LINDSAY SLOPER'S CONCERT THIS best of benefit concerts took place on Tuesday morning in the Hanover Square Rooms. The programme, as was usual with these excellent artists, was composed of the best materials. We cite it at length, since it is worthy of place in the columns of any journal devoted to the interest of music. Overture (Egmont) - Beethoven. Duetto, "Bella imago," Miss Dolby and Signor Marchesi - Rossini. Song, "La Dea di tutt' i cor," (Il Giuramento), Signor Marras - Mercadante. Larghetto, violoncello, Signor Piatti - Mozart. Scena ed Aria, "A te riede," Miss Dolby - Mercadante. Aria, "Non mi dir" (Don Giovanni), Miss Catherine Hayes - Mozart. Concerto, D minor, pianoforte, Mr. Lindsay Sloper - Mendelssohn. Romance, "Parmi les pleurs " (Lee Huguenots), Miss Dolby - Meyerbeer. Quintetto, "Sento, oh Dio" (Cosi fan Tutte) Catherine Hayes, Miss Dolby, Signor Marras, Signor Marchesi, and Mr. Smythson - Mozart. PART II. Overture (Faust) - Spohr. Aria, "Tanti affetti" (La Donna del Lago), Miss Birch - Rossini. First Movement of Concerto, violin, Mr. H. C. Cooper - Viotti. Aria, "Vedro mentr'io sospiro " (Le Nozze di Figaro), Signor Marchesi - Mozart. Duets, "The Sabbath Morn," and "The Harvest Field," Miss Catherine Hayes and Miss Dolby - Mendelssohn. Serenade, Study in A major, and Galop, pianoforte, Mr. Lindsay Sloper - Lindsay Sloper. Irish ballad, "Silent, O Moyle," and Scotch song, Bonnie Dundee," Miss Dolby. Quartetto, "I Poveretti," Miss C. Hayes, Miss Dolby, Mr. Benson, and Signor Marchesi - Biletta. Instrumental Finale . The cavatina of Mercadante, the romance from the Huguenot' (that of Valentine in the second act), and the national airs; Irish and Scotch, form the catalogue of pieces in styles sufficiently opposed to prove Miss Dolby's talent is various as it is finished. She sang all in her best manner, and was compelled to repeat one of the national airs. Mr. Lindsay Sloper, in the second concerto of Mendelssohn selected one of the most difficult works in the repertory of the pianoforte. But that he had not overrated his powers was shown by the admirable manner in which he both read and executed it; perfect mechanism fulfilling all that poetical conception suggested. The orchestral accompaniments were exceedingly well played, under the experienced direction of Mr. Benedict. The compositions of his own introduced by Mr. Lindsay Sloper are elegant and finished specimens of his talents as a writer. The last, somewhat modestly styled a Galop," but in reality a very difficult toccato in the modern style, was executed with remarkable precision and brilliancy, and re-demanded. Miss Catherine Hayes and Miss Dolby sang the two duets of Mendelssohn to perfection. They belong to the posthumous set of three, and are among the happiest specimens of those treasures of fugitive thought bequeathed by the lamented master to the music of the chamber. The beautiful larghetto of Mozart was just suited to the graceful and passionate playing of Signor Piatti; and Mr. G. H. Cooper gave a modern vigour and sentiment to the square-cut themes and passages of old Viotti. Signor Biletta's new quartet is deserving of special notice, not only as a very clever piece of vocal part writing, but as a composition of genial spirit and considerable dramatic character. It was exceedingly well sung on this occasion, and was warmly received, but we think it would be found still more effective on the stage. It is unnecessary to enter into further details; we may therefore conclude with saying, that the Hanover-square Rooms were crowded with a brilliant and fashionable audience, and that everyone seemed thoroughly satisfied with the substantial and well-varied programme which Miss Dolby and Mr. Lindsay Sloper provided. (The Musical world, Saturday, 18 May 1850) The Concert of Miss Dolby and Mr. Lindsay Sloper takes "brevet rank," owing to the superior interest of the programme. The lady was in her best voice; among other music, singing 'Bell' imago' with Signor Marchesi (who also sang very well), -- Mendelssohn's two last Duets with Miss Hayes, - and taking part in a pretty and lively Quartetto di camera by Signor Biletta. Mr. Sloper played Mendelssohn's second Concerto with neatness and spirit; also two or three short pieces by himself, among which his 'Galop' was encored. There were solos, too, by Mr. Cooper and by Signor Piatti. The latter is now the most admirable Violoncellist, whether solo or concertante, that we have ever heard. The rare combination of science with charm, of executive command with sound truth and elegant expression, cannot, we think, be carried further or raised higher than in his case: He plays not merely like one who delights in his instrument, but like one who loves "the best and honourablest" music. (The Athenaeum, Saturday, 18 May 1850) Wednesday, 15 May 1850 : Miss Birch And Miss Eliza Birch's Evening Concert at Hanover-Square Rooms. MISS BIRCH and Miss ELIZA BIRCH beg to announce to their friends and the public, that their CONCERT will take place on Wednesday Evening, May 15, at the Hanover-square Rooms under the Immediate Patronage of H.R.H. Prince Albert and H.R.H the Duke or Cambridge. Vocalists:- Misses Catherine Hayes and Eliza Birch, Mde. F. Lablache, and Miss Birch Messrs Lockey. Whitworth, and H. Phillips, Signori Marras, Marchesi and F. Lablache. Pianoforte - Mlle. Cara Loveday. Flute - Mr. Richardson. Violin - Mr. H. Blagrove. Conductor - Mr. Lindsay Sloper. Leader - Mr. Willy. To commence at 8 o'clock. Tickets 7s. each to be had of the Misses Birch, and of the principal musicsellers. Stalls, half-a-guinea, to be had only of the Misses Birch, at their residence, 20, Hereford-street, Park-lane. (The Times, Monday, 22 April 1850) MISS and Miss ELIZA BIRCH beg to announce to their friends and the public that their CONCERT will take place on WEDNESDAY EVENING, May 15 at the Hanover square Rooms, under the immediate patronage of his Royal Highness Prince Albert and his Royal Highness the Duke of Cambridge Vocalists: Misses Catharine Hayes, Eliza Birch, and Miss Birch. Madame F. Lablache and Miss Dolby, Messrs. Lockey, Whitworth and H. Phillips; Signori Marras. Marchesi, and F. Lablache Piano-forte, Mdlle. Clara Loveday ; flute, Mr. Richardson; violin Mr H. Blagrove. Conductor, Mr. Lindsay Sloper; Leader, Mr Willy. To commence at eight o'clock. Tickets. 7s. each ; to be had of the Misses Birch, and at the principal Musicsellers'. Stalls half-a-guinea each ; to be had only at the residence of the Misses Birch 20, Hereford-street, Park-lane. (Morning Post, Friday, 10 May 1850) (Also: Examiner, Saturday, 11 May 1850; Morning Post, Monday, 13 May 1850.) MISS and Miss ELIZA BIRCH beg to announce to their friends and the public that their CONCERT will take place on THIS EVENING, May 15 at the Hanover square Rooms, under the immediate patronage of his Royal Highness Prince Albert and his Royal Highness the Duke of Cambridge Vocalists: Misses Catharine Hayes, Eliza Birch, and Miss Birch. Madame F. Lablache and Miss Dolby, Messrs. Lockey, Whitworth and H. Phillips; Signori Marras. Marchesi, and F. Lablache Piano-forte, Mdlle. Clara Loveday ; flute, Mr. Richardson; violin Mr H Blagrove. Conductor, Mr. Lindsay Sloper; Leader, Mr Willy. To commence at eight o'clock. Tickets. 7s. each ; to be had of the Misses Birch, and at the principal Musicsellers'. Stalls 10s. 6d each; to be had only at the residence of the Misses Birch 20, Hereford-street, Park-lane. (The Athenaeum, Saturday, 11 May 1850) (Also: The Athenaeum, Saturday, 11 May 1850; Morning Post, Wednesday, 15 May 1850.) THE MISSES BIRCH'S CONCERT. THESE talented and well known sisters, gave a concert on Wednesday evening at the Hanover Square Rooms, which were crowded in every part. There was a grand orchestra led by Mr. Willy, and conducted by Mr. Lindsay Sloper, which began the concert with a very excellent performance of Mendelssohn's overture to a Midsummer Night's Dream. The Misses Birch opened their performance with a pretty duet of Wallace, called May Morning," which pleased every body, as much by its own simplicity as by the charming manner in which it was sung. Miss Birch found full play for the quality and power of her superb soprano voice, in the grand scena of Agnes in Der Freischütz, which she sang with great energy and feeling; it was warmly applauded. This was appropriately preceded by the tenor scena of Max, "Thro' the forest," a composition in every way its equal, and sung with the right sort of feeling, by Mr. Lockey. Miss Eliza Birch's first solo was the "Dove sono," from the Nozze di Figaro, an air well suited to her voice, which is a sweet and full soprano, and her agreeably unaffected style of singing. Signor Marras contributed his talent, both as a singer and composer, to the first part of the concert. A well written trio, "Piu nel sono," from his pen, sung by Miss Birch, Signor Marchesi, (a low barytone of more than ordinary promise), and Signor Marras himself, proved very effective; while in the "Una furtiva lagrima," Signor Marras displayed that expressive Italian style of singing, the secret of which he knows so well. The other vocal features were an air by Cimarosa, sung with great spirit by Frederick Lablache; Morlacchi's "Notte tremenda," which brought back to us agreeably the beautiful contralto voice of Madame F. Lablache, too seldom heard ; and the "O luce di quest anima," sung by Miss Catherine Hayes, in the most brilliant manner. The Concert-Stuck of Weber, executed with the best intentions by Miss Clara Loveday, and Richardson's extraordinary Russian hymn, with extraordinary variations, played by himself, in his best style, were the solo instrumental attractions. We should have mentioned among the vocal pieces an aria of Paer's, cleverly sung by Mr. Whitworth. The first part terminated with Weber's brilliant Jubilee overture. In the second part Miss Dolby and Mr. H. Phillips both made their appearance, the first with the page's song from the Huguenots, "Nobil signor," the last with his own ballad, "Shall I, wastynge in despair ;" both artists were received with the warmth due to their talents. Mr. Henry Blagrove also made his appearance in the second part, in a duet for pianoforte and violin, with Miss Clara Loveday, - a composition calculated to show off advantageously the mechanism of two brilliant performers, but in which Messrs. Herz and De Beriot have ingeniously managed to deprive some of the charming melodies in Auber's Fiancée of all their simplicity and half their beauty. Two Scotch songs deserve notice as sweet specimens of natural ballad singing - the "Lass o' Gowrie," by Miss Eliza Birch, and "Bonnie Dundee," by Miss Dolby. We have already hinted in a parenthesis, that Signor Marchesi is a vocalist of promise ; and the manner in which he sang "Non Piu andrai " warrants us in giving the same sentiment out of parenthesis. Two MS. ballads, sung by Miss Birch - "Coralie," by Mr. Linley, and the "Bird and the Breeze," by Biletta - were calculated to add to Miss Birch's reputation as a singer of MS. ballads. Did Signor Biletta forget that Spohr, Mendelssohn, and Molique have all set the "Flieg' voglein" to music, or has be boldly attempted to measure swords with them? If the former, good: if the latter, good! Still we must own, three to one are perilous odds, clever as is Signor Biletta without denial. Why should we speak of Glover's duet, "What are the wild waves saying," if not to record that it was beautifully sung by Miss Birch and Miss Dolby? Why should we again mention the Orchestra, with its Conductor, Mr. Lindsay Sloper, unless to record that it brought the concert to an end, with a spirited performance of one of the marches from Mendelssohn's A Midsummer Night's Dream ? we say one of the marches, because Bottom's march, which, though a small march, and a short march, as a march humorous and a march characteristic of Bottom, is too often overlooked, in speaking of these immortal musical illustrations to an immortal poem. Why should we add anything more than just so many words as will explain ? we have nothing more to add, except that the concert of the Misses Birch gave that entire satisfaction to their patrons and admirers, which we are quite certain it was the first wish of the charming young artists to secure. (The Musical world, Saturday, 18 May 1850) Wednesday, 29 May 1850 : Beethoven Quartet Society's Quartet Party at 27, Queen Anne-Street, Cavendish-Square. BEETHOVEN QUARTET SOCIETY. M. SCIPION ROUSSELOT announces the Fourth Exclusive Performance of HERR ERNST AT THESE QUARTET PARTIES will take place on WEDNESDAY, May 29th, at 27, Queen Ann-street, at Eight o'Clock. Quartets: Haydn, No. 79, in D major; Mendelssohn, No. 4, in E minor; Beethoven, No. 7, in F major, and the Grand Sonata in C sharp minor for Pianoforte. Executants-Messrs. ERNST, H. C. COOPER, H. HILL, S. ROUSSELOT, and LINDSAY SLOPER. Names will be received at Messrs. ROUSSELOT and ARBANS, 66 Conduit-street, Regent-street. (The Musical world, Saturday, 25 May 1850) At the fourth meeting of the Beethoven Quartet Society, on Wednesday, the scheme comprised Haydn's No. 79 in D, Mendelssohn's No. 4 in E minor, and Beethoven's No 7 in F, with Beethoven's Sonata in C sharp minor. The executants were Ernst, Cooper, Hill, Rousselot, and Lindsay Sloper. (Illustrated London News, Saturday, 1 June 1850) The Beethoven Society. - The meeting on Wednesday began the second half of the season, which is to be devoted to a selection from various of the great masters, never, however, forgetting the great Beethoven. The Haydn quartet No. 79, in D major opened the evening's music; of this we lately spoke as performed at the Musical Union. The quartet No. 4 in E minor, Op. 44, (Mendelssohn) followed; the scherzo of this was beautifully executed, and excited quite a sensation, even so far as to call for its repetition; it is altogether a fine example of the master's quartet writing. Mr. Lindsay Sloper played the celebrated sonata of Beethoven, in C sharp minor, No. 7, called the "Moonlight;" to this grand work for the piano we have long confessed our passion; it is full of grandeur, pathos, and beauty, and received an excellent rendering from Mr. Sloper. The quartet No. 7 F major, Op. 59, (Beethoven) closed the evening's music. (The Literary gazette : A weekly journal of literature, science, and the fine arts, Saturday, 1 June 1850) BEETHOVEN QUARTET SOCIETY. THE performances of the Beethoven Quartet Society came to a termination on Wednesday night, with the sixth and last meeting of the series. As we have been unable to follow the concerts in detail, a general review of the present season may not be unacceptable. The first meeting, which was noticed at great length, took place on Wednesday, April 17, when the programme was as follows:- Quartet, No: 1, F major. Quartet, No. 9, C major (Razoumoffsky) Trio, No. 6, D major. Quartet, No. 18, B flat major (posthumous) Executants in the quartets - Ernst, H. C. Cooper, Dando, Rousselot; in the trio - Stephen Heller, Ernst, Rousselot. It will be remembered that this was the first appearance before a London public of M. Stephen Heller, a pianist and composer of great eminence, who made an impression which at once stamped him in the estimation of his hearers as an executant of the highest refinement and skill. At the second meeting, on Wednesday, May 1, the following pieces were given Quartet, No. 3, D major. Quartet, No. 8, F minor {Razoumoffsky) Sonata, pianoforte and violoncello, G minor. Quartet, No. 12, E flat (posthumous) Executants in the quartets - Ernst, Cooper, Hill, Rousselot; in the sonata - Sterndale Bennett and Rousselot. The third meeting came off on Wednesday, May 15. The programme is subjoined:- Quartet, No. 5, A major. Quartet, No. 10, E flat major. Trio, B flat major. Quartet, No. 15, C sharp minor (posthumous). Executants in the quartets - Ernst, H. C. Cooper, Hill, Rousselot; in the trio - Stephen Heller, Ernst, Rousselot. At the fourth meeting, on Wednesday, May 29, the original principles that have always been supposed to govern the society, which had already been partially departed from by the introduction of pianoforte pieces, were completely set aside, as will be seen by the following selection:- Quartet, No. 79, D major - Haydn Quartet, No. 4, E minor - Mendelssohn Sonata, pianoforte, C sharp minor -Beethoven Quartet, No. 7, F major (posthumous) - Beethoven. Executants in the quartet - Ernst, Cooper, Hill, Rousselot ; sonata, Mr. Lindsay Sloper. According to the rule laid down by the founder of the society, the late Mr. Alsager, the whole of the seventeen quartets should be presented in the course of the first five meetings; and this rule, until the present season, has been strictly enforced by M. Rousselot, his successor. Whether its infringement does not disqualify the society from retaining its exclusive title of Beethoven Quartet Society, by depriving it of all essential difference from other societies devoted to the performance of chamber music, is worth consideration. For our own parts, we are decidedly of that opinion,; and we advise M. Rousselot, if he be desirous of maintaining his prerogative, to give the subject his serious attention, before making his arrangements for another season. At the fifth meeting, on Wednesday, June 12, there was another miscellaneous programme:- Quartet, No. 6, C major - Mozart Quartet, No. 16, A minor (posthumous) - Beethoven Sonata, pianoforte, D minor - Beethoven Quartet, No. 5, E flat. Mozart. o Mendelssohn. Executants in the quartet - Ernst, Cooper, Hill, Rousselot ; sonata - Mdlle. Eugenie Colon. The sixth and last meeting, on Wednesday, June 26, introduced the third selection of works by various masters :- Quartet, No. 78, B flat major - Haydn Quartet, No. 11, F minor - Beethoven Sonata, pianoforte, A flat major, Op. 26 - Beethoven Quartet, No. 3, D major - Mendelssohn Executants in the quartets - Ernst, Cooper, Hill, Rousselot; sonata - M. Alexander Billet. The quartets Nos. 2, 4, 6, 14, 17, have thus been omitted from the series. Now, either M. Rousselot should have given a larger number of meetings, or be should have refrained from introducing the sonatas, trios, and the quartets of other masters. The object of the Beethoven Quartet Society was to make the musical public familiar with all the quartets of Beethoven, not to attract a paying audience by a varied selection; and in assuming the direction of affairs, at the death of Mr. Alsager, M. Rousselot, we are sure, had that object deeply at heart. Whether he has been induced to swerve from it by the secession of amateurs, who, during the life-time of the founder, zealously supported the society, or from want of enthusiasm in the cause, we, of course, cannot take upon us to say; but we may record our firm opinion, that the former is far more likely. M. Rousselot, as every one knows, is himself an admirable musician, and it must not for one instant be presumed that he is not alive to the immense signification of the seventeen quartets, as one great branch in the tree of Beethoven's genius. With regard to the execution of the quartets that have been introduced, M. Rousselot has entitled himself to unreserved approval. In engaging Ernst to lead, he secured the services of the most intellectual player now living ; while the great violinist could hardly have been more powerfully supported than by Cooper as second violin; Hill as tenor, and M. Rousselot, himself, as violoncello. The last meeting was in all respects a most exciting one. We never heard the F minor - that most Beethovenish of Beethoven's chamber works - more magnificently played. Ernst was inspired, and his associates, nolens volens, shared heart and soul in his enthusiasm. The fine quartet of Mendelssohn also went superbly, especially the romance in B minor, while the bouquet from the last century, of Papa Haydn, which still preserves its freshness of odour and hue, was interpreted with a combination of quaint simplicity and vigorous animation that could not have better expressed the full meaning of the work. M. Alexander Billet, who has already been so justly praised for his intimate knowledge of the classical masters, added a new laurel to his brow by the chaste and unaffected manner in which he played the beautiful early sonata in A flat. The performance created the greatest enthusiasm throughout, and the crowded audience left the New Beethoven Rooms with regret that some nine months must pass away before the doors would be again re-opened to lovers of the music of the immortal Poet of Sound. (The Musical world, Saturday, 29 June 1850) BEETHOVEN QUARTET SOCIETY. THE final meeting of the season took place on Monday night, in the new Beethoven Rooms" before a very crowded attendance of amateurs. The performances were for the benefit of Herr Ernst. The programme was miscellaneous, and comprised the quartets No. 6 and 13 of Beethoven, both in B flat, an andante and scherzo from Mendelssohn's posthumous works (Op 80); the earlier sonata of Beethoven in A major, for pianoforte and violin; and a series of études de concert, for the pianoforte, by Stephen Heller. The selection was one of the highest interest, .and first rate. We have no new terms in which to convey our admiration: of the refined and intellectual playing of Herr Ernst, which suits itself with equal felicity to every style of music, simple, graceful, passionate or grand. The three quartets in Monday night's programme were sufficiently contrasted to enable this great - "this unparalleled violinist," as the Morning Herald happily styles him, to display the universality which is one of his noblest gifts. The No. 6 of Beethoven, with the exception of the brief adagio that precedes the finale, in a playful brilliant strain throughout; the two movements (and especially the scherzo) of Mendelssohn, belong to a fantastic world of his own creation ; the posthumous, work of Beethoven, No. 13, combines many styles in one, and, besides a prevailing tone of mystery. demands the utmost variety of expression. The requisites for the effective development of compositions so essentially opposed to each other were readily supplied by Ernst, who happily identified himself with each of them, and played throughout with wonderful effect. He was supported with extreme ability by Messrs. H. C. Cooper (second violin), Hill (tenor), and Rousselot (violoncello). Amidst the general appreciation of the audience, the stimulus of novelty, and other circumstances, created more than usual interest for the fragments of Mendelssohn, both of which were enthusiastically encored. At the conclusion of the scherzo - which Ernst played with a sparkling brightness that, if possible, lent it a grace independent of its own countless beauties - there was but one feeling of regret that the work had not been completed by the great composer. Perhaps, indeed, no compositions for the chamber can so ill bear mutilation as those of Mendelssohn, which being always the inspiration of one predominant feeling, are only half disclosed when only half performed. But here, alas there was no help. M. Stephen Heller, whose performances in public have been much rarer than could have been wished by the admirers of a talent at once so distinguished and so utterly devoid of meretricious display, gave a chaste and unaffected reading of Beethoven's sonata in A major - a work which, while offering many difficulties, both to pianist and violinist, is chiefly remarkable for playfulness of character and a flow of natural and unsought melody. This sonata was played throughout by MM. Heller and Ernst without any attempt to shine on either side at the expense of the other. It was not a friendly trial of skill, as so often happens in duet playing between expert performers, but a friendly association for the sole purpose of rendering the music of Beethoven with strict integrity. That such un-showy exhibitions can interest and delight an attentive audience was fully exemplified in the flattering marks of approval which greeted the performance of MM. Ernst and Heller at the end of every movement of the sonata. The etudes de concert belong to the best of those numerous contributions to the piano which have won for M. Heller a place among the most eminent and original composers for that instrument. His performance of them was marked throughout by delicacy, good taste, and brilliant mechanism. While each was admired and applauded, a preference was shown for the étude styled "pastorale," a movement of extreme freshness and piquancy. The co-operation of Herr Ernst who, we are informed, accorded his services unconditionally for the entire series of performances, depending, in common with M. Rousselot, the director, upon the chance of public patronage for remuneration - has been of essential consequence to the Beethoven Quartet Society, and has brought the present season prosperously to a close. We must again remind M. Rousselot, however, that he has materially, and, we think, not wisely, departed from the scheme of the founder. The Beethoven Quartet Society was, as we have more than once recorded, established in 1845, for the express purpose of annually presenting the whole of the seventeen quartets composed by Beethoven, in as complete and effective a style as practicable. The immediate object was the highly commendable one, of gradually familiarizing the musical public with these fine and varied works, some of which (especially the "posthumous") from their great difficulty and singular originality of character, had been comparatively neglected by Beethoven's most zealous worshippers. With this in view eight performances were instituted, the first five of which were to be strictly confined to the quartets of Beethoven, the remaining three admitting compositions by other masters. But M. Rousselot, as we showed in a recent number, has only given seven performances this season, the last of which was an extra one, for the benefit of Herr Ernst, and therefore not to be counted in the series. Of these the first three alone were confined to the works of Beethoven, the schemes of the remainder being miscellaneous, in consequence of which we have had but twelve out of the seventeen quartets. Nos. 2, 4, 6, 14, 17, have been passed over altogether. Another innovation, foreign to the original design, has also been in a great measure instrumental in subverting it. We allude to the introduction of pianoforte compositions at every meeting. It is true, that the works performed by M. Stephen Heller, Messrs. Sterndale Bennett, and Lindsay Sloper, Madlle. Coulon, and M. Alexandre Billet, have been selected from the trios, duets, and sonatas of Beethoven; but trios, duets, and sonatas have nothing in common with the end for which the society was projected - that of annually producing the whole of the seventeen quartets. Moreover, the pianoforte works of Beethoven are far more numerous than the quartets, and a society for their exclusive performance would not be unacceptable to the many lovers of his music. We have already reverted to this topic, but it is of sufficient importance to bear repetition. While paying due homage to the talent and spirit of M. Rousselot, who has courageously stepped forward and diligently laboured to sustain an institution so favourable to the interests of art, and so influential in promulgating a refined and uncorrupted taste, we must again insist that, unless he restores the ancient scheme in all its integrity, he can offer no reasonable plea for continuing to attach to his annual performances of chamber music the significant and exclusive title of the Beethoven Quartet Society. Mr. Ella, Mr. Dando, or any other professor who gives a yearly series of quartet concerts, may just as reasonably adopt the name, which can only be defended by a strict adherence to the principles from which its origin was derived. (The Musical world, Saturday, 13 July 1850) Saturday, 1 June 1850 : Mr. Brinley Richards's Evening Concert at Hanover-Square Rooms. MR. BRINLEY RICHARDS has the honour to announce that his CONCERT will take place at the Hanover-square Rooms on FRIDAY EVENING next, May 31, under the immediate patronage of H.R.H. the Duke of Cambridge and his Grace the Duke of Newcastle. Vocalists :- Mesdames Catherine Hayes. Birch, Bassano, Messent, Owen, and Macfarren; Messrs. Sims Reeves, Harrison. Sequin, Marchesi. and Drayton. Instrumental performers : - Messrs. Benedict, C. Cooper, Hill, Mount, and Piatti. Conductors. Messrs. Benedict and Sloper. Stalls and tickets may be had at all the principal Music Warehouses, and of Mr. Brinley Richards, 31, New Bond-street. (Morning Post, Friday, 24 May 1850) (Also: The Athenaeum, Saturday, 25 May 1850; Morning Chronicle (1801), Tuesday, 28 May 1850.) MR. BRINLEY RICHARDS BEGS to announce that his Concert take place on FRIDAY EVENING, May 31st, at the HANOVER SQUARE ROOMS, under the immediate patronage of H. R. H. the Duke of Cambridge, and His Grace the Duke of Newcastle. Vocalists:- Miss Catherine Hayes, Miss Birch, Miss Bassano Miss Messent Miss Owen, and Madame Macfarren ; Messrs. Sims Reeves, H. Harrison, W. H. Seguin, Marchesi, and H. Drayton. : Messrs. Piatti, H. C. Cooper, Hill, Mount, and Instrumentalists :- Brinley Richards, who will perform a (MS ) Quartett, by Mr. G. A. Macfarren, the last movement of which has been re-arranged expressly for this Concert. Mr. Richards will also perform Selections from Bach and Handel; and also a Concertante Duet with Mr. Benedict. Messrs. B&Aelig;NEDICT and LINDSAY SLOPER. Conductors Single Tickets, 7s. each ; Reserved Seats, 10s. 6d. To be had of all music sellers; and of Mr. Richards, at 31, New Bond Street. (The Musical world, Saturday, 25 May 1850) MR. BRINLEY RICHARDS has the honour to announce that his CONCERT will take place at the Hanover-square Rooms To-morrow EVENING, May 31, under the immediate patronage of H.R.H. the Duke of Cambridge and his Grace the Duke of Newcastle. Vocalists: Mesdames Catherine Hayes, Birch, Bassano, Messent, Owen and Macfarren; Messrs. Sims Reeve, Seguin, Marchesi, and Drayton. Instrumental performers: Messrs. Benedict, C. Cooper, Hill, Mount, and Piatti. Conductors: Messrs. Benedict and Sloper. Stalls and tickets may be had at all the principal Music Warehouses and of Mr. Brinley Richards, 31, New Bond-street. (Daily News, Thursday, 30 May 1850) MR. RICHARDS' EVENING CONCERT.- A concert was given last evening at the Hanover-square Rooms by Mr. Brinley Richards. There was a good selection of favourite vocal pieces, including some compositions by Mr. Richards himself. The principal singers engaged were Miss Catherine Hayes, Miss Birch, Miss Bessano, Miss Messent, Miss Owen, Mrs. Macfarren, Mr. Sims Reeves, Mr. G. Benson, Mr. W. H. Seguin, Signer Maronesi, and Mr. Henry Drayton. The programme was strong in instrumental talent, including Piatti, Cooper, Hill, Benedict, Mount, and Mr. Brinley Richards. The principal instrumental pieces were a quintet (MS.) by G. A. Macfarren, and Benedict's pianoforte duet on themes by Schubert. Mr. Brinley Richards played two pianoforte solos. The conductors were Messrs. Benedict, Walter Macfarren, and Lindsay Sloper. The concert-room was crowded. (Morning Chronicle (1801), Saturday, 1 June 1850) MR. BRINLEY RICHARDS' CONCERT. THE Hanover Square Rooms were crowded at the concert of Mr. Brinley Richards, the pianist, and the audience were elegant as numerous. Mr. Richards is an artist who has lawfully earned the repute in which he stands with the profession and with the public, and he did much on the present occasion not only to confirm, but to increase the esteem in which he is held. The most important feature of the evening was Mr. Macfarren's quintet in G minor, for pianoforte, violin, viola, violoncello, and double bass, which was executed by Messrs. Richards, Cooper, Hill, Piatti, and Mount, and was received with great applause. Mr. Richards played also one of the admirable Studies of Cramer, the prelude and very melodious Fugue of Bach in C sharp major, and the Courante, followed by the air with variations, known as the "Harmonious Blacksmith," of Handel, in which the classical purity of his style was displayed to much advantage. He was no less successful in a selection of pieces calculated to test very different qualities in the pianist from those brought into play in the works of these ancient masters, namely, a Nocturne and a Scherzo of his own composition, the latter of which in particular was extremely effective for the instrument. Further, he performed one of the brilliant fantasias for pianoforte and violin, of Osborne and De Beriot, with Mr. Cooper, an admirable violinist, whose talent is the more esteemed the more it is known ; and lastly, an extremely showy concertante, for two pianofortes, and some of the most popular songs of Schubert, with the composer Mr. Benedict. The only other instrumental performance was a solo on the violoncello of Sig. Piatti, whose beautiful style and extraordinary execution elicited much admiration. Among the vocal pieces the most conspicuous were a trio of Mr. Richards, sung by Miss Birch, Mr. Benson, and Mr. Drayton, the American vocalist, which was unanimously redemanded by the audience ; and a song, "Hark, maiden, 'tis the battle cry," also the composition of the beneficiaire, which was so admirably sung by Mr. Sims Reeves as to deserve and to receive the same compliment. Miss Catherine Hayes sang an aria from the Sonnambula in her best and most effective manner, and, with Madame Macfarren, two of the beautiful duets of Mendelssohn, in which the charming combination of the exquisite voices of these ladies enhanced even the great beauty of the music. Madame Macfarren surprised us and delighted every one by her truly chaste yet highly impassioned rendering of "Voi che sapete;" we have long admired, in common with all the best musical judges, the beautiful voice and the energetic style of this young lady, but we remember not to have heard her to such advantage as on this occasion, when her evident appreciation of the intention and the intensity of the music, and her skilful command of her vocal resources, enabled her to give a reading to one of Mozart's happiest inspirations that we never wish to hear surpassed. Madame Macfarren's admirable singing of this lovely song was duly appreciated and fully acknowledged by the audience. Misses. Birch, Bassano, and Messent, sung each an aria of Rossini, in which each displayed her accustomed powers. Miss Owen sang an extremely graceful ballad of her brother's, Mr. Owen, the clarionet player, with much sweetness. Signor Marchesi, a vocalist with a good style and a fine organ, Mr. W. Seguin, Mr. Drayton, Mr. Benson, and Mr. Sims Reeves, sang several other pieces which are too well known to need particularising. Mr. Benedict, Mr. L. Sloper, and Mr. Walter Macfarren accompanied the vocal music with their usual excellence, and the whole went off in a manner that must have been gratifying, as it was creditable, to the esteemed artist who furnished the entertainment. (The Musical world, Saturday, 8 June 1850) Monday, 3 June 1850 : Drury-Lane Theatrical Fund's Thirty-Third Anniversary Festival at Freemasons' Tavern, Great Queen-Street. DRURY-LANE THEATRICAL FUND. Yesterday the 33rd anniversary festival of this institution took place at the Freemans' Tavern, Great Queen-street. Sir WYNDHAM ANSTRUTHER, Bart, in the chair. About 150 gentlemen sat down to dinner, and the galleries were graced by a large company of ladies. The musical part of the entertainment was more than usually attractive, the following ladies and gentlemen having volunteered their gratuitous services on the occasion: Mr. Lindsay Sloper (conductor), Misses Birch, L. Pyne, Ransford, K. Fitzwilliam, E. Nelson, P. Horton, Fanny Huddart, and M. Williams. Messrs. Ernst, A. Sedgwick, Henry Phillips, D. King, Liffler, Genge, Gray, Young, Binge, Snoubridge, S. Jones, Beale, and Vivier. Previous to the dinner Mr. Harley, the treasurer of the society, read to the company a letter which he had received from the Duke of Cambridge, regretting that his duties in the House of Lords prevented him from presiding at the festival, and offering a donation of 20l. towards the funds at the institution. The usual loyal toasts having been drunk, Mr. DAY proposed the health of the chairman, stating that he had always been distinguished as a liberal patron of the drama, and that, considering the short notice at which he had been called upon to preside at this meeting, he had discharged his duties in a manner which reflected the highest credit on his judgment and experience. The CHAIRMAN returned thanks, and afterward. proposed "Prosperity to the Drury-lane Theatrical Fund," stating that the Institution was founded by David Garrick in the year 1766, and was incorporated by him in 1777, at which period he placed 4,000l. in the hands of trustees for the use of the charity. From the date of its foundation down to the year 1793 the institution continued in the most flourishing condition. From 1793 to the year 1817, the claim upon the fund were far beyond its receipts, and exertions were made to bring about a more prosperous state of things. In 1818 the Duke of York first presided at a dinner in aid of the funds of the institution, and from that period down to the present day the chair had been filled in succession by the Duke of Clarence, the Duke of Kent, the Duke of Sussex, And the Duke of Cambridge, and he (Sir Wyndham Anstruther) regretted extremely that the illustrious personage last mentioned had not been able to honour them with his company upon the present occasion. He concluded a brief sketch of the present condition of the charity by drinking the health of Mr. Harley, and "Prosperity to the Drury-lane Theatrical Fund." Mr. HARLEY, in returning thanks, delivered a short address, from which we extract the following facts.-It was his duty at the last meeting to place before them the amount of the annual income derived from the various property belonging to this institution, with the yearly sum paid to 15 annuitants, varying in age from 50 to 90; and, at the same time, he remarked that the society was in expectation of having six more annuitants to pay, and that the only alternative would be either to reduce very considerably the annuities, or to trench on the capital. In briefly reverting to this plain tale of pounds, shillings, and pence, he would respectfully suggest that the narrow incomes of the aged recipients, would bear no diminution, and that the institution could not afford to lose the liberal patronage so long and so generously bestowed upon it. He had the pleasure to announce that the Queen had transmitted to them a donation of 60l, and that other liberal sums had been presented in aid of the funds. Various other toasts were successively proposed; and amongst them were to "The immortal Memory of David Garrick, the Founder of the Institution," "The Vice-Presidents," "The Sub-Committee of the Theatre Royal Drury-lane," "Mr. Anderson, the Lessee of the Theatre Drury-lane, and Success to the British Drama," "The Stewards," "The Ladies," &c, Each of the toasts was responded to with the utmost enthusiasm, and the business of the evening, aided as it was by musical performances of a very superior character - passed off in the most agreeable and satisfactory manner. The total amount of subscriptions announced was about 6001., including the donations from her Majesty and the Duke of Cambridge. (Daily News, Tuesday, 4 June 1850) DRURY-LANE THEATRICAL FUND. The thirty-third anniversary festival in aid of the funds of this institution took place yesterday, at the Freemasons' Tavern, Great Queen-street. His Royal Highness the Duke of Cambridge, president of the institution, was announced as the chairman for the day; but shortly after six o'clock Mr. Harley read a letter from his Royal Highness, stating that unexpected business in the House of Lords prevented him from filling the chair. The letter also stated that his Royal Highness had applied to his son, Prince George, to preside, but that unfortunately his Royal Highness also, from previous engagements, was prevented from attending. His Royal Highness the Duke of Cambridge forwarded to Mr. Harley a cheque for 20l. (applause.) Mr. Harley then stated that, in the absence of his Royal Highness, Sir Wyndham Anstruther, Bart., had kindly consented to take the chair (loud applause). The musical arrangements, which formed a very charming feature in the proceedings, were conducted by Mr. Lindsay Sloper, who presided at the pianoforte; and the following artistes also volunteered their professional aid: - Miss Louisa Payne, Miss P. Horton, Miss Fanny Huddart, Miss Kathleen Fitzwilliam, Miss Eliza Nelson, Miss Ransford, Miss M. Williams, Mr. Henry Phillips, Mr. Leffler, Mr. D. W. King, Mr. Shoubridge, Mr. Genge, Mr. Young, Mr. Gray, Mr. S. Jones, Mr. Beale, Mr. A. Sedgwick, M. Vivier, Herr Ernst, Mr. Ransford, jun., &c. About 150 gentlemen sat down to the dinner, which comprised every delicacy of the season. The usual loyal toasts having been proposed and responded to, Mr. Day proposed "The Chairman," who had kindly, at the eleventh hour, consented to take upon himself the onerous duties of chairman, in the absence of his Royal Highness the Duke of Cambridge. The Chairman returned thanks, and concluded by proposing the toast of the evening, " Prosperity to the Drury-lane Theatrical Fund," and urged the just claims which it had on the best sympathies of the public. Mr. Harley, in an amusing speech, reported the progress and prospects of the charity, and announced subscriptions amounting to about 600l. It appears that at present there are 15 annuitants on the fund, and that in a short time six more are likely to be added to the number. Under these circumstances, unless the friends of the charity come to its support, it is anticipated that a reduction of the allowances to annuitants must take place, or the vested capital of the charity must be interfered with. No entertainment in our experience ever went off with more éclat. (The Standard, Tuesday, 4 June 1850) DRURY LANE THEATRICAL FUND. The thirty-third anniversary of this institution was held yesterday, at the Freemasons' Hall. His Royal Highness the Duke of Cambridge, who was to have taken the chair being unable to attend in consequence of his presence being required at the House of Lords, Sir Windham Carmichael Anstruther was prevailed upon to occupy the seat of the absent duke, and Mr. Harley. who stated the change, quaintly added that as it was Sir Windham Anstruther's first appearance, and he had taken the part at a short notice, he should claim the usual indulgence. The usual toasts were drunk with the accustomed enthusiasm. The musical arrangements, which were conducted by Mr. Lindsay Sloper, were admirable in all respects. Miss L. Pyne, Miss Huddart. and Miss Eliza Nelson sang charmingly, and were encored in their several ballads. Ernst played his fantasia on airs from Le Pirata. with exquisite tone, finish, and pathos, and was received with enthusiasm, and Vivier performed upon the horn with excellent effect. Mr. Harley. in responding to the toast drunk in his honour, said:- This being the anniversary of the Drury Lane Theatrical Fund. I have again to solicit your indulgence for the few observations it becomes my duty to make in its behalf. To see around me a well-remembered host of liberal friends of this institution, with new patrons, drawn hither and animated by their generous example, while it renders my task of pleading comparatively light, heaps upon my brethren and myself a debt of gratitude far beyond my power to express. It is a common maxim, and a trite one, " make hay while the sun shines;" but how many are there on whom the sun of prosperity never shone ? or, having shone for a brief season, has set with deeper darkness, never to rise again ? To prevent an evil so painful to the generous heart, this fund was established - first, to encourage the actor, by a steady course of economy, to become a subscriber, and thereby secure to himself and family some provision in his day of distress ; and, secondly, to move the public sympathy, in order to enable us to carry into full effect the benevolent intentions of the founder. Every anniversary is a fresh tribute to his memory May the present transcend in its beneficial results all that have gone before ; for at no period since first I had the honour to address its patrons has our fund stood in greater need of support. It was my duty on the occasion of our last meeting to place before you in figures the amount of the annual income derived from the various property belonging to this institution, with the yearly sums paid to fifteen annuitants, varying in age from fifty to ninety ; and, at the same time, I remarked that we were in expectation of having very speedily, if not immediately, six more annuitants to pay, and that our only alternative would he either to reduce very considerably the present and future annuities or to trench on our capital. In briefly reverting to this plain tale of pounds, shillings, and pence, let me respectfully suggest that the narrow incomes of our aged recipients will bear no diminution, and that we cannot afford to lose the liberal patronage you have so long and so generously vouchsafed us. I have to announce that the Queen has graciously transmitted to us the munificent donation of 50l. Happy in her domestic circle, and in the affections of her people, she feels there is a happiness beyond even that. and by making others happy, nobly secures it. May her Majesty, her august consort, and their illustrious offspring, the heirs and hopes of "Merrie England." long enjoy every blessing that loyalty can wish them and Providence bestow ! We have to regret the absence of our illustrious patron, his Royal Highness the Duke of Cambridge. His eminent services to this institution are duly appreciated and highly prized. We know that his heart is with us. and we take the will for the deed. Long may his valued health enable him to preside at the festive board where charity is the object and the end. Be pleased, Sir, to accept our best thanks for your kind attendance. Wherever your voice may be raised in behalf of beneficence, you will meet with no asylum where the benefits are more urgently needed, better deserved, more equitably apportioned, or more gratefully received, than the Drury Lane Theatrical Fund. The subscriptions amounted to 573l. 10s. (Morning Post, Tuesday, 4 June 1850) DRURY-LANE THEATRICAL FUND.-The thirty-third anniversary festival of this charity was held last evening at the Freemasons' Tavern, Queen-street. In the unavoidable absence of his Royal Highness the Duke of Cambridge, the chair was taken by Sir Windham C. Anstruther. About 150 gentlemen sat down to dinner, which was served in first-rate style, and included all the delicacies of the season. After the usual loyal toasts had been drunk, the chairman proposed, " Prosperity to the Drury-lane Theatrical Fund ;" and addressed a warm appeal to the company in support of the charity. Mr. Harley, the treasurer, whose health was received in a most flattering manner, announced that the total subscriptions amounted to 573l. 10s., including the following - Her Majesty the Queen, 50l.; His Royal Highness the Duke of Cambridge, 20l. ; the Duke of Bedford, 50l. ; Miss Burdett Coutts, 20l., the Chairman, 10 guineas, &c. The musical arrangements of the evening (which were conducted by Mr. Lindsay Sloper) were such as to insure an unusual amount of entertainment. The vocalists were the Misses L. Pyne, Ransford, E. Nelson, P. Horton, P. Huddart, with Messrs. Leffler, S. Jones, and Bagnell. Herr Ernst performed with unrivalled taste and execution on the violin, and M. Vivier played an effective solo on the horn. The lower part of the hall and the gallery were filled with ladies during the dinner, and their presence contributed not a little to the interest of the evening. (Morning Chronicle (1801), Tuesday, 4 June 1850) DRURY LANE THEATRICAL FUND. - The thirty-third anniversary of this institution was held on Monday at the Freemasons' Hall. His Royal Highness the Duke of Cambridge, who was to have taken the chair, being unable to attend in consequence of his presence being required at the House of Lords, Sir Windham Carmichael Anstruther was prevailed upon to occupy the seat of the absent duke, and Mr. Harley, who stated the change, quaintly added that, as it was Sir Windham Anstruther's first appearance, he should claim the usual indulgence. The musical arrangements, which were conducted by Mr. Lindsay Sloper, were admirable in all respects. Miss L. Pyne, Miss Huddart, and Miss Eliza Nelson sang charmingly, and were encored in their several ballads. Ernst played his fantasia on airs from "Il Pirata" with exquisite tone, finish, and pathos, and was received with enthusiasm; and Vivier performed upon the horn with excellent effect. Mr. Harley, in responding to the toast drunk in his honour, said, "This being the anniversary of the Drury Lane Theatrical Fund, I have again to solicit your indulgence for the few observations it becomes my duty to make in its behalf. To see around me a well-remembered host of liberal friends of this institution, with new patrons, drawn hither and animated by their generous example, while it renders my task of pleading comparatively light, heaps upon my brethren and myself a debt of gratitude far beyond my power to express." In conclusion Mr. Harley observed, "I have to announce that the Queen has graciously transmitted to us the munificent sum of £50. Happy in her domestic circle and in the affections of her people, she feels there is a happiness beyond even that, and, by making others happy, nobly secures it. May her Majesty, her august consort, and their illustrious offspring, the heirs and hopes of 'Merrie England,' long enjoy every blessing that loyalty can wish them and Providence bestow ! We have to regret the absence of our illustrious patron, his Royal Highness the Duke of Cambridge. His eminent services to this institution are duly appreciated and highly prized. We know that his heart is with us, and we take the will for the deed." The subscription amounted to £673. 10s. (The Lady's Newspaper & Pictorial Times, Saturday, 8 June 1850) Drury-Lane Theatrical Fund.-On Monday, the thirty-third annivesary festival of this institution took place at the Freemasons' Tavern, Great Queen-street; Sir Wyndham Anstruther, Bart., in the chair. About 150 gentlemen sat down to dinner, and the galleries were graced by a large company of ladies. The musical part of the entertainment was more than usually attractive, the following ladies and gentlemen having volunteered their gratuitous services on the occasion: - Mr. Lindsay Sloper (conductor), Misses Birch, L. Pyne. Ransford, K. Fitzwilliam, E. Nelson, P. Horton, Fanny Huddart, and M. Williams, Messrs Ernst, A. Sedgwick, Henry Phillips, D. King, Leffler, Genge, Gray, Young. Binge, Shoubridge, S. Jones, Beale, and Vivier. Mr. Harley, the treasurer of the society, read to the company a letter which he had received… (Illustrated London News, Saturday, 8 June 1850) Theatrical Fund. -The thirty-third anniversary festival in aid of the funds of this institution took place Monday last at the Freemason's Tavern, Great Queen street. The Duke of Cambridge was announced as Chairman for the occasion; but Mr. Harley read a letter from his Royal Highness, stating that unexpected business the House of Lords prevented him from filling the chair. The letter also stated that his Royal Highness had applied to son. Prince George, preside, but that unfortunately he, from previous engagements, was prevented from attending. The Duke of Cambridge forwarded cheque for 20l. Mr. Hurley then stated that Sir Anstruthar, Bart, had consented to take the chair. The musical arrangements, which formed a very charming feature of the proceedings, were conducted by Mr. Lindsay Sloper, who presided at the pianoforte. About 150 gentlemen sat down to the dinner. … (Bell's New Weekly Messenger, Sunday, 9 June 1850) Monday, 3 June 1850 : Maddle Coulon's Annual Morning Concert at Hanover-square Rooms. MADLLE. COULON HAS the honour to announce that her ANNUAL MORNING CONCERT take place at the HANOVER SQUARE ROOMS, on MONDAY, June 3rd, to commence at Two o'clock precisely; on which occasion she will be assisted by the following celebrated artistes:- Vocalists Birch, Nau, E. Birch, Graumann ; Messrs. Stigelli de Besnier, Burdini, and Marchesi. Instrumental Performers: - Pianoforte, Madlle. Coulon; Harp, Mr. Frederick Chatterton Violin. M. Sainton ; Flute, M. Briccialdi; Violoncello, M. Rousselot; Clarinet, Mr. Lazarus ; Horn, Mr. Jarrett ; Oboe, M. Barret ; Bassoon, M. Baumann. Messrs. BENEDICT and LINDSAY SLOPER. Conductors. Stalls and Tickets may be had at all the principal music warehouses; and of Madlle. Coulon, 48, Great Marlborough Street. (The Musical world, Saturday, 25 May 1850) (Also: The Musical world, Saturday, 1 June 1850.) On Monday morning Mdlle. Coulon, a clever pianiste, gave her annual concert the Hanover-square Rooms, assisted by Miss Birch, Miss Eliza Birch, Mdlle. Nau, Mdlle. Graumann, Herr Stigelli, M. de Besmer, Symon Bordini and Marchesi ; the instrumentalists were, in addition to the Beneficiare, Mr. F. Chatterton (harp), M. Sainton (violin), M. Rousselot (violoncello), Signor Briccialdi (flute), M. Barret (oboe), Mr. Lazarus (clarionet), Mr. Baumaun (bassoon), Mr. Jarrett (horn); Benedict and Lindsay Sloper, conductors. (Illustrated London News, Saturday, 8 June 1850) Friday, 14 June 1850 : Miss Binckes And Mr. Joseph Haigh's Evening Concert at Hanover-Square Rooms. ADVERTISEMENTS. MISS BINCKES & MR. JOSEPH HAIGH BEG to announce that they will give an EVENING CONCERT at the Hanover Square Rooms, on Friday, June 14, 1850. Vocal Performers, Miss Catherine Hayes, Mdlle. Da Vinci, and Miss Binckes, Mr. Sims Reeves, Signor Ronconi, and Mr. Joseph Haigh, (his first appearance since his return from Italy). Instrumental Performers.- Pianoforte, Miss Binckes ; Harp, Mr. J. Balsir Chatterton (Harpist to Her Majesty the Queen) ; Violin, Mr. H. Blagrove ; Concertina, Mr. R. Blagrove. Conductors Mr. LINDSAY SLOPER, and Mr. W. C. MACFARREN. Tickets, 7s. each ; to admit four, £l 1s.; and Reserved Seats, 10s. 6d. each ; to be had at the principal music shops ; of Miss Binckes, Cornbury Place, Old Kent Road; and of Mr. J. Haigh, 51, Bernard Street, Russell Square. Reserved Seats to be had only of Miss Binckes and Mr. Haigh. (The Musical world, Saturday, 8 June 1850) MISS BINCKES and MR. JOSEPH HAIGH beg to announce that their CONCERT will take place THIS EVENING, Friday, June 14, at the Hanover-square Rooms. Vocal Performers: Miss Catherine Hayes, Madlle. Davinci and Miss Binckes; Mr. Sims Reeves, Signor Ronconi, and Mr. Joseph Haigh. Instrumental Performers: Pianoforte, Miss Binckes; Harp, Mr. J. Balsir Chatterton (Harpist to her Majesty the Queen); Violin, Mr. H. Blagrove; Concertina, Mr. R. Blagrove. Conductors, Mr. Lindsay Sloper and Mr. W. C. Macfarren. (Morning Chronicle (1801), Friday, 14 June 1850) Monday, 17 June 1850 : The Friends of the Late Madame Dulcken's Grand Morning Benefit Concert at Hanover-Square Rooms. HANOVER-SQUARE ROOMS.- GRAND MORNING CONCERT, on MONDAY. June 17. to commence at half-past one o'clock precisely, under the immediate patronage of her Most Gracious Majesty the Queen, his Royal Highness Prince Albert, her Royal Highness the Duchess of Kent, her Royal Highness the Duchess of Gloucester, their Royal Highnesses the Duke and Duchess of Cambridge, and other most distinguished personages. The Friends of the late Madame DULCKEN. and the members of the Musical Profession, desirous of testifying their resect and esteem for her memory, intend to give a Grand Morning Concert for the BENEFIT of her FAMILY, at the Queen's Concert Rooms. Hanover-square and, through the kind concession of the direction of Her Majesty's Theatre, made for this occasion exclusively, several of the leading artistes of that establishment will also appear. The concert will be under the management of a committee. The following eminent artistes have already most kindly promised their valuable services : - Mdlle. Parodi, Madame Giuliani, Mdlle. Angri, Madame F. Lablache, Mdlle. Schloss, Miss Catherine Hayes, Madame Madeleine Nottes (first soprano at the Royal Opera, Hanover). Miss Dolby, Miss Louisa Pyne. Miss Williams, Signor Calzolari. Signor Marras, Herr Stigelli. Herr Brandt. Signor Belletti. Mr. F. Lablache, Herr Formes. Pianoforte, Mdlle. Sophie Dulcken (niece of the late Madame Dulcken). and Herr Dreyschock; Violin. M. Apollinaire de Kontski. Horn. M. Vivier. Conductors, Mr. Benedict. Mr. G. Osborne. Mr. W. Kuhe, and Mr. Lindsay Sloper. Further particulars will be duly announced. Stalls, 21s. ; reserved seats. 15s. and tickets, 10s. 6d. each ; to be obtained at the principal Music Warehouses and Libraries ; at the late Madame Dulcken's residence, 80 Harley-street, Cavendish-square ; also of any of the members of the committee : and of Chas. Stovin, Esq., Hon. Sec.. 81, Harley-street (Morning Post, Monday, 3 June 1850) (Also: Morning Post, Tuesday, 11 June 1850; Daily News, Tuesday, 11 June 1850.) The Friends of the late Madame DULCKEN, and the members of the Musical Profession, desirous of testifying their respect and esteem for her memory, intend to give a GRAND MORNING CONCERT for the BENEFIT of HER FAMILY, at the QUEEN'S CONCERT ROOMS, Hanover-square, and through the kind concession of the direction of Her Majesty's Theatre, made for this occasion exclusively, several of the leading Artistes of that establishment will also appear. The Concert will be under the management of a Committee. The following eminent Artistes have already most kindly promised their valuable services:- Mdlle. Parodi, Madame Giuliani, Mdlle. Angri, Madame F. Lablache, Mdlle. Schloss, Miss Catherine Hayes, Madame Madeleine Nottes (first soprano at the Royal Opera, Hanover), Miss Dolby, Miss Louisa Pyne, Miss Williams, Signor Calzolari, Signor Marras, Herr Stigelli, Herr Brandt, Signor Belletti, Mr. F. Lablache, Herr Formes. Pianoforte, Mdlle. Sophie Dulcken (niece of the late Madame Dulcken), and Herr Dreyshock. Violin, M. Apollinaire de Kontski. Horn, M. Vivier. Conductors, Mr. Benedict, Mr. G. Osborne, Mr. Kuhe, and Mr. Lindsay Sloper. Leader, Mr. Willey. -- Stalls, 2s.; Reserved Seats, 15s.; and Tickets, 10s. 6d. each; to be obtained at the principal Music Warehouses and Libraries; at the late Madame Dulcken's residence, 80, Harley-street, Cavendish-square; also of any of the members of the Committee; and of Chas. Stovin, Esq., Hon. Sec., 81, Harley-street. (John Bull, Saturday, 8 June 1850) (Also: John Bull, Saturday, 8 June 1850.) HANOVER-SQUARE ROOMS. The premature death of Madame Dulcken, the eminent pianoforte player, having materially interfered with the prospects of the family she has left behind, a number of influential individuals, who knew the deceased, and respected her virtues, recently formed themselves into a committee, and upon the strength of their exertions a concert was given yesterday morning at the Hanover-square Rooms, under very illustrious and distinguished patronage. The attendance of visitors was large, and we trust, therefore, that the children of a very deserving and talented artiste - taken away unhappily in the zenith of her celebrity - will benefit to a considerable extent by the undertaking. The concert was one of the best that the season has afforded, many artists of the highest distinction having volunteered their gratuitous services. The leading vocalists of her Majesty's Theatre were present, including Mdlle. Parodi, Miss Catherine Hayes, Madame Giuliani, Beletti, and Calzolari, besides Stigelli, Formes, Marras, Brandt, Miss M. Williams, Mdlle. Schloss, Miss Dolby, and others. The programme was a compilation of popularities, well calculated to please the class of people who patronise fashionable concerts ; and several of the pieces- such as Balfe's -"Joy of Tears," by Miss Catherine Hayes, Donizetti's " Sempre all'alba," by Parodi, &c. - were encored. A performance of Thalberg's fantasia on themes from the Lucrezia Borgia, by Mdlle. Sophie Dulcken- a niece of the late Madame Dulcken, whose ability she seems to possess in a very remarkable degree - was one of the most noticeable incidents of the concert. This young lady also performed, with M. Kontski, a duet for the pianoforte and violin, on subjects from the Prophète, a work well adapted to develope the showiest powers of execution. Herr Dreyschock was another of the soloists, and astonished the audience, as is his wont, by the completeness of his triumph over seeming impossibilities. M. Godefroid played his harp variations on " Nel cor piu," between the parts, and the dexterity and brilliancy which he manifested won him a loud encore. An apology was made for Mdlle. Angri by Mr. Lindsay Sloper on the score of ill health. This excellent vocalist, however, made an attempt to fulfil her promised assistance, but was compelled to desist at the outset. The entire orchestra of her Majesty's Theatre, led by M. Tolbecque, gave weight and character to the concert; and M. Benedict, M. Kuhe, Mr. Lindsay Sloper, Mr. H. Dulcken, and Mr. Balfe, divided among themselves the duties of conductorship. (The Standard, Tuesday, 18 June 1850) HANOVER-SQUARE ROOMS. A concert for the benefit of the family of the late Madame Dulcken took place at the above rooms yesterday. The occasion was an interesting one, apart from the musical amount of talent which the programme included, for the deceased lady was a great favourite with the public and highly respected by the musical profession. The event of yesterday afforded a graceful opportunity to all her friends and admirers for displaying their kind feeling by contributing to the realisation of a sum of money to be applied to the necessities of her surviving family. Amongst those artists who were foremost in the cause of charity were- Misses Hayes, Dolby, and Lucombe, Signors Parodi, Giuliani and Angri ; Messrs. Benedict, Bute, Kuhe, Lindsay Sloper, Godefroid. De Kontski, Calzolari, Belletti, Formes, Dreyschock, Stigelli, and Tolbeque who led a numerous orchestra. On such an occasion, of course criticism would he out place, but we will still offer a few remarks upon the piano-forte performance of a young lady, who made her debut curtsey to the general public in this concert, firstly because she was a debutante ,- secondly, because she is a niece of the late Madame Dulcken ; and lastly, her distinguished ability deserves especial notice. Miss Sophie Dulcken, although certainly not out of her [?] handles the pianoforte already with great power and dexterity. She plays with considerable point and [?] her touch is crisp and brilliant, and her mechanism remarkably good. The solo piece she selected for the occasion was Thalberg's very difficult fantasia upon airs from Lucrezia Borgia, which she rendered with much [?] and effect. Mdlle. Dulcken was very warmly received and her performance elicited frequent and hearty applause. (Morning Post, Tuesday, 18 June 1850) A grand concert was given last Monday morning, at the Hanover Rooms, under the patronage of her Majesty, Prince Albert, the Duchesses of Kent, Gloucester, and Cambridge, &c., for the benefit of the family of the late lamented Dulcken. The band of Her Majesty's Theatre, with Tolbecque as leader, and Benedict, Balfe, L. Sloper, Kuhe, H. Dulcken, conductors; De Kontski, the clever violinist; Dreyschock, the great pianist; M. Godefroid, the harpist (who was doubly encored); Miss Sophia Dulcken, pianiste (niece of Mdme. Dulcken), gave their services, besides the following vocalists- Mdlle. Angri, Mdme. Giuliana, Miss Catherine Hayes, Miss Dolby, Mdlle. Cora Slott, a debutante of promise, and a pupil of Schira; Mdme. Lemaire, Miss M. Williams, Mdme Nottes; Signori Calzolari, Belletti, Marras; Herr Stigelli, Herr Brandt, Herr Formes &c. (Illustrated London News, Saturday, 22 June 1850) Friday, 21 June 1850 : Mr. Julius Benedict's Annual Concert at Her Majesty's Theatre. M. BENEDICT'S GRAND ANNUAL MORNING CONCERT, under the immediate patronage of her Majesty the Queen, H.R.H. Prince Albert. H.R.H. the Duchess of t Kent, and their Royal Highnesses the Duke and Duchess of a Cambridge. M Benedict begs respectfully to announce that his Annual concert will take place ON THE STAGE OF HER MAJESTY'S THEATRE, on FRIDAY MORNING, June 21. with the entire Chorus and Orchestra, on which occasion he will be supported by all the eminent artistes of that establishment, including Mesdames Sontag, Frezzolini, Parodi, Giuliani, Ida Bertrand, Miss Catherine Hayes, Signori Gardoni, Calzolari, Baucarde, Coletti, Belletti, F. Lablache, and Lablache, under the direction of Mr. Balfe. Piano, Messrs. Hallé, Osborne. Lindsay Sloper and Benedict ; Violin, Messrs. Ernst and Molique ; Violoncello, Sig. Piatti; and French Horn, M. Vivier. Engagements with other distinguished artistes are pending. Prices of admission : Boxes, two, three, and four guineas; pit stalls, 1l. 1s.; pit tickets, 10s. 6d. ; gallery stalls, 5s., gallery, 2s. 6d. Application for boxes, &c. to be made at the principal Libraries ; Music Warehouses ; the Box Office of Her Majesty's Theatre ; and to M. Benedict, 2, Manchester-square. (Morning Post, Friday, 24 May 1850) (Also: Examiner, Saturday, 25 May 1850; The Athenaeum, Saturday, 25 May 1850; Examiner, Saturday, 25 May 1850; Morning Chronicle (1801), Monday, 27 May 1850.) M. BENEDICT'S GRAND ANNUAL MORNING CONCERT, under the immediate patronage of Her Majesty the Queen, H.R.H. Prince Albert, H.R.H. the Duchess of Kent, and their Royal Highnesses the Duke and Duchess of Cambridge. - Mr. Benedict begs respectfully to announce that his ANNUAL CONCERT will take place ON THE STAGE OF HER MAJESTY'S THEATRE, on FRIDAY MORNING, June 21, with the entire Chorus and Orchestra, on which occasion he will be supported by all the eminent artistes of that establishment, including Mesdames Sontag, Frezzolini, Parodi, Giuliani, Ida Bertrand, Miss Catherine Hayes, Signori Gardoni, Calzolari, Baucarde, Coletti, Belletti, F. Lablache, and Lablache, under the direction of Mr. Balfe. Piano, Messrs. Hallé, Osborne, Lindsay Sloper, and Benedict; Violin, Messrs. Ernst and Molique; Violoncello, Signor Piatti; and French horn, M. Vivier. Engagements with other distinguished artistes are pending. - Prices of Admission:- Boxes, Two, Three. and Four Guineas; Pit Stalls, 11. Is.; Pit Tickets. 10s. 6d.; Gallery Stalls, 5s.; Gallery, 2s. 6d. Applications for Boxes. &c., to be made at the principal Libraries, Music Warehouses, the Box-office of Her Majesty's Theatre, and to M. Benedict, 2, Manchester-square. (John Bull, Saturday, 25 May 1850) (Also: Illustrated London News, Saturday, 25 May 1850; Illustrated London News, Saturday, 1 June 1850.) M. BENEDICT'S GRAND ANNUAL MORNING CONCERT, under the immediate patronage of her Majesty the Queen, H.R.H. Prince Albert. H.R.H. the Duchess of Kent, and their Royal Highnesses the Duke and Duchess of a Cambridge. M Benedict begs respectfully to announce that his Annual concert will take place ON THE STAGE OF HER MAJESTY'S THEATRE, on FRIDAY MORNING, June 21. with the entire Chorus and Orchestra, on which occasion he will be supported by all the eminent artistes of that establishment, including Mesdames Sontag, Frezzolini, Parodi, Giuliani, Ida Bertrand, Miss Catherine Hayes, Signori Gardoni, Calzolari, Baucarde, Coletti, Belletti, F. Lablache, and Lablache, under the direction of Mr. Balfe. Piano, Messrs. Hallé, Osborne. Lindsay Sloper and Benedict ; Violin, Messrs. Ernst and Molique ; Violoncello, Sig. Piatti; and French Horn, M. Vivier. Engagements with other distinguished artistes are pending. Prices of admission : Boxes, two, three, and four guineas; pit stalls, 1l. 1s.; pit tickets, 10s. 6d. ; gallery stalls, 5s., gallery, 2s. 6d. Application for boxes, &c. to be made at the principal Libraries ; Music Warehouses ; the Box Office of Her Majesty's Theatre ; and to M. Benedict, 2, Manchester-square. (The Literary gazette : A weekly journal of literature, science, and the fine arts, Saturday, 25 May 1850) HER MAJESTY'S THEATRE. M. BENEDICT'S GRAND ANNUAL MORNING CONCERT, Under the immediate Patronage of Her Majesty The QUEEN, H.R.H. Prince Albert, H.R.H. the Duchess of Kent, and their Royal Highnesses the Duke and Duchess of Cambridge. MR. BENEDICT begs respectfully to announce that his ANNUAL CONCERT will take place ON THE STAGE OF MAJESTY'S THEATRE, on FRIDAY MORNING, JUNE 21ST, 1850, with the entire Chorus and Orchestra, on which occasion he will be supported by all the eminent artistes of that establishment, including - Mesdames Sontag, Frezzolini, Parodi, Giuliani, Ida Bertrand, Miss Catherine Hayes, Signori Gardoni, Calzolari, Baucarde, Coletti, Belletti, F. Lablache, and Lablache, under the direction of Mr. Balfe. Piano, Messrs. Hallé, Osborne, Lindsay Sloper, and Benedict; Violin, Messrs. Ernst and Molique, Violoncello, Signor Piatti; and French Horn, M. Vivier. Engagements with other distinguished artistes are pending. Prices of Admission : - Boxes, Two, Three, and Four Guineas ; Pit Stalls, 1s. ; Pit Tickets, 10s. 6d.; Gallery stalls, 5s. ; Gallery, 2s.6d. Application for Boxes, &c., to be made at the principal libraries, music warehouses, the Box Office of Her Majesty's Theatre, and to M. Benedict, 2, Manchester Square. (The Musical world, Saturday, 25 May 1850) M. BENEDICT'S GRAND ANNUAL MORNING CONCERT, under the immediate patronage of her Majesty the Queen H.R.H. Prince Albert, H.R.H. the Duchess of Kent, and their Royal Highness the Duke and Duchess of Cambridge .- Mr Benedict begs respectfully to announce that his ANNUAL CONCERT will take ON THE STAGE OF HER MAJESTY'S THEATRE, on FRIDAY MORNING, June 21, with the entire Chorus and Orchestra on which occasion he will he supported by all the eminent artistes of the establishment, including Mesdames Sontag, Frezzolini, Parodi, Giuliani, Ida Bertrand, Miss Catherine Hayes, Signori Gardoni, Calzolari, Baucarde, Coletti, Belletti, F. Lablache, and Lablache, under the direction of Mr Balfe. Piano Messrs Hallé, Osborne, Lindsay Sloper and Benedict; Violin, Messrs Ernst and Molique; Violoncello, Signor Piatti; and french Horn, M Vivier. Engagements with other distinguished artistes are pending. Prices of Admission: -- Boxes Two, Three, and Four Guineas; Pit Stalls, £1 1s.; Pit Tickets 10s 6d; Gallery Stalls, 5s; Gallery, 2s 6d. Application for Boxes, &c, to be made at the principal libraries; music warehouses; the Box Office of her Majesty's Theatre; and to M. Benedict, 2, Manchester-square. (Bell's Life in London and Sporting Chronicle, Sunday, 26 May 1850) HER MAJESTY'S THEATRE.- HALLE, OSBORNE, LINDSAY SLOPER, and BENEDICT will play a PIANOFORTE QUARTETT, composed expressly by, G. Osborne for the GRAND CONCERT, to be given on the stage of her, Majesty's Theatre, on Friday, June 21. Boxes, stalls, and tickets may be secured at the Box-office of the Theatre, which is open from Eleven until Five. (Daily News, Tuesday, 28 May 1850) (Also: Morning Chronicle (1801), Tuesday, 28 May 1850; Morning Post, Tuesday, 4 June 1850; Morning Chronicle (1801), Wednesday, 5 June 1850.) MESDAMES SONTAG, Frezzolini, Parodi, Giuliani, Ida Bertrand, Miss Catherine Hayes, Signori Gardoni, Calzolari, Baucarde, Coletti, Belletti, F. Lablache, and Lablache, under the direction of Mr. Balfe ; Piano, Messrs. Hallé, Osborne, Lindsay Sloper, and Benedict ; Violin, Messrs. Ernst and Molique ; Violoncello, Signor Piatti ; and French Horn M. Vivier- will all perform at M. BENEDICT'S GRAND CONCERT, which will take place on the Stage of Her Majesty's Theatre, on FRIDAY MORNING, June 21. Price of admission- Boxes (pit tier), 4l.. 4s.: first tier. 4l. 4s. ; second, 3l. 3s. ; third, 2l. 2s. A few boxes on the grand tier, at 6l. 6s., may be had by immediate application. Pit stalls, 1l.. 1s. ; pit tickets, 10s. 6d. ; gallery stalls, 5s. ; gallery, 2s. 6d. Application for boxes, &c, to be made at the principal libraries ; music warehouses ; the box-office of Her Majesty's Theatre : and to M. Benedict, 2, Manchester-square. (Morning Chronicle (1801), Wednesday, 29 May 1850) (Also: Morning Post, Wednesday, 29 May 1850; Morning Post, Thursday, 30 May 1850.) MESDAMES SONTAG, FREZZOLINI, Parodi, Giuliani, Ida Bertrand, Miss Catherine Hayes, Madlle. Charton, Signori Gardoni, Calzolari, Baucarde Coletti, Belletti, F. Lablache, and Lablache, under the direction of Mr. Balfe; piano - Messrs. Hallé, Osborne, Lindsey Sloper and Benedict; Violin - Messrs. Ernst and Molique; Violoncello -Signor Piatti; Harps - M Godefroid and A. Thomas; and French horns - Mr. Vivier -will all perform at M. BENEDICTS GRAND CONCERT, which will take place on the Stage of HER MAJESTY'S THEATRE, on FRIDAY MORNING, June 21. Prices of admission: Boxes, Pit Tier, 4l. 4s., First Tier, 4l, 4s., Second Tier, 3l. 3s., Third Tier, 2l. 2s.; Pit Stalls, 1l 1s., Pit Tickets, 10s. 6d.; Gallery Stalls, 6s., Gallery, 2s. 6d. A few boxes on the Grand Tier, 6l. 6s., may be had by immediate application. Applications for boxes, &c.to he made at the principal libraries; music warehouses; the box office of her Majesty's Theatre, and to Mr. Benedict, 2, Manchester-square. (Daily News, Thursday, 30 May 1850) CLIFDEN AND MAIDENHEAD REGATTA, WILL take place on Wednesday, June [?], 1850, …WARDS. THE MARQUIS OF STAFFORD. THE LORD BOSTON. THE HONOURABLE MR. IRBY GEORGE. VANSITTART, Esq. LIEUT.-COL VANSITTART. JOSEPH SANDARS, Esq. R W. GRENFELL, Esq. J G. BERGMAN. Esq. CHAS. SARTOKIS. Esq. JOHN LANGTON, Honorary Secretary. THE QUEEN'S CONCERT ROOMS, HANOVER SQUARE; and through the kind concession of the Direction of her Majesty's Theatre, made for this occasion exclusively, several of the leading Artistes of that Establishment will also appear. The Concert will under the Management of a Committee, consisting of the following Members: Martin Alepson. Esq. Michael Balfe, Esq. Frederick Beale, Esq. Jules Benedict, Esq. Henry Bohn, Esq. J. S. Buckingham, Esq. William Chappell, Esq. R. Desviones. Esq. Pierre Erard, Esq. B. Fiodob, Esq. G. Puzzi, Esqrs:- Stephen Hohland, Esq. Wilhelm Kuhe, Esq. Frederick Lablache, Esq J. S. Lucet, Esq. G. abbas, Esq. Kino. Esq. Cornelius Stovin, Esq. Charles Stovin, Esq. A. Thorndike, Esq. Edw. Tuson. Esq. Whittmann, Esq. CHARLES STOVIN, Hon. Sec The following eminent Artistes have already most kindly promised their valuable services; Mademoiselle PARODI. Madame GIULIANI. Mademoiselle ANGHI. Madame F. LABLACHE. Mademoiselle SCHLOSS. Miss CATHERINE HAYES Madame MADELINE NOTTES, (First Soprano the Opera. Hanover). Miss DOLBY. Miss LOUISA FYNE. Miss WILLIAMS Signor CALZORAKI. Signor MARRAS. Herr STIGELLI Mr. JULIUS BRANDT. Signor BELLETTI. Mr. F. LABLACHE Herr FORMES. Pianoforte -Mademoiselle SOPHIE DULCKEN (Niece of the late Madame Dulcken), and Herr DREYSCHOCK. Violin -Monsieur APOLLINAIRE KONTSKI French Horn-M. VIVIER. And other eminent Artistes whose names will shortly appear. CONDUCTORS: Mr BENEDICT. Mr. G. OSBORNE Mr. W. KUHE. Mr. HENRY DULCKEN and Mr. LINDSAY SLOPER. FURTHER PARTICULARS WILL BE DULY ANNOUNCED. Stalls, 21s.; Reserved Seats. 15s.; and Tickets, 10s. 6d. each; obtained (Windsor and Eton Express, Saturday, 1 June 1850) MESDAMES SONTAG, FREZZOLINI, PARODI GIULIANI, Ida Bertrand, Miss Catherine Hayes, Madlle. Charton, Signori Gardoni, Calzolari, Baucarde, Coletti, Belletti, F. Lablache, and Lablache, under the direction of Mr. Balfe; Piano - Messrs; Hallé, Osborne, Lindsay Sloper, and Benedict; Violin - Messrs. Ernst and Molique; Violoncello - Signor Piatti; Harp - Mr. Ap-Thomas; and French Horn - Mr. Vivier; will all perform at M. BENEDICT'S GRAND CONCERT, which will take place on the stage of MAJESTY'S THEATRE, on FRIDAY MORNING, June 21. Applications for Boxes, &c., to be made at the principal Libraries, Music Warehouses, the Box-office of Her Majesty's Theatre, and to M. Benedict, 2, Manchester Square. (The Musical world, Saturday, 1 June 1850) M. BENEDICT'S ANNUAL CONCERT, HER MAJESTY'S THEATRE - Hallé, Osborne, Lindsay Sloper, and Benedict will play a Pianoforte quartett composed expressly by G. Osborne for BENEDICTS GRAND ANNUAL CONCERT to be given on the Stage of HER MAJESTY'S THEATRE. FRIDAY MORNING. June 21, in addition to all the eminent artists engaged at Her Majesty's Theatre. - Boxes. Stalls and Tickets may be secured at the Box Office of the Theatre; which is open from 11 until 5. and of M. Benedict, 2, Manchester Square. Full programmes are now ready and may be obtained at all the principal Libraries and Musicsellers. (The Athenaeum, Saturday, 8 June 1850) HALLE, Osborne, Lindsay Sloper, and Benedict will play a pianoforte quartet composed expressly by G. Osborne, for M. BENEDICT'S GRAND ANNUAL CONCERT which will be given on the stage of Her Majesty's Theatre, on Friday morning, June 21. Boxes, stalls, and tickets may be secured at the box-office of the theatre, which is open from 11 until 5; and of M. Benedict, 2, Manchester-square. (The Times, Friday, 14 June 1850) (Also: The Times, Saturday, 15 June 1850.) HER MAJESTY'S THEATRE.- A Grand Classical, Dramatic, Miscellaneous Concerted MUSICAL ENTERTAINMENT Selected from the following authors :-Mozart, Spohr. Beethoven, Gluck, Ricsi, Rossini, Adolphe Adam, Donizetti, and Mendelssohn, will take place on FRIDAY MORNING, JUNE 21, To commence at Two o'clock precisely. Comprising the talents of Mme. Sontag, Mdlle. Parodi, Mme. Giuliani, Mdlle. Ida Bertrand, Miss Catherine Hayes, Mme Frezzolini, Mdlle Charton; Signori Gardoni, Calzolari, Baucarde, Coletti, Belletti, F. Lablache, and Lablache, supported by all the choral and instrumental resources of the theatre. Under the direction of Mr. Balfe. Piano, Messrs. Hallé, Osborne, L Sloper, and Benedict; Harp, Mr, ap Thomas; Violin, Messrs. Ernst and Molique; Violoncello: Signor Piatti; French Horn: M. Vivier. Amongst other novelties, the celebrated Trio for three Tenors, Signori Gardoni, Calzolari, and Baucarde. Duo for two Sopranos, Mesdames Sontag and Frezzolini. The celebrated Variations of Adolphe Adam, Mme. Sontag. And the admired Russian ballad, " Zolovoi; ou le Rossignol," Mme. Frezzolini. PROGRAMME.-PART 1. Overture, "Der Berggeist" - Spohr. Terzetto "Coraggio, or su del tuo vigor," Mdlle. Parodi, Mme. Giuliani, and Signor Belletti (Fidelio) - Beethoven. Aria, "Il mio Tesoro," Signor Calzolari (Don Giovanni) - Mozart. Fantasia, Violin, on favourite English National Airs, Herr Molique (first time of performance) - Molique. Scene from "Armida," assisted by Mdlles. Parodi, Charton, Giuliani, C. Hayes, Ida Bertrand Signori Gardoni, Calzolari, Baucarde, Coletti, Belletti, F. Lablache, Lablache, and Chorus - Gluck. Concertante, for two Pianofortes, with Orchestral Accompaniments, Messrs. Hallé and Benedict - Benedict. Variations (by desire), " Ah, vous dirai-je," Mme. Sontag; Flute Obligato, Mons. Remusat (Le Torreador) - A. Adam. Adelaide, Sinor Gardoni - Beethoven. (His first appearance in London this season.) Solo, Violoncello, Signor Piatti, on favourite Russian airs (first time of performance) - Piatti. Aria, "Porgi amore," Mdlle. Parodi (Nozze di Figaro) - Mozart. Trio (three Basses) '; Vedii quell' nom," Signori Coletti, Belletti, and Lablache (Chiara di Rosenberg) Ricci. Air "Du Page," Paroles de M. Scribe; arranged for and sung by Mdlle. Charton (MS. Opera) - Benedict. Finale. " Ave Verum," Mesdames Sontag, Parodi, C. Hayes, Charton, Giuliani, Ida Bertrand, and Frezzolini; Signori Gardoni, Calzolari., Baucarde, Coletti, Belletti, F. Lablache, Lablache, and Chorus - Mozart. PART II. New Festival Overture (first time of performance in London) - Benedict. Terzetto, for Three Tenors, "In quale aspetto imbelle" (by general desire), Signori Gardoni, Calzolari, and Baucarde (Armida) - Rossini Andante, French Horn, M. Vivier - Vivier. The Morning Song" (first time), the poetry by Barry Cornwall ; Mme. Sontag, composed expressly for her by - Benedict. Barcarole, "Sella poppa del mio brik," Sig. Belletti (La Prigione d'Edinburgo) - Ricci. Andante, front the Sonata for Pianoforte and Violin, dedicated to Kreutzer, performed by Messrs. Benedict and Ernst - Beethoven, New Ballad, "'The Joy of Tears," Miss C. Hayes (by general desire) - Balfe. Rondo, "In questo semplice," Mine Frezzolini (Betly) - Donizetti. Duetto, ) ''Quando di sangue tinto,"Signori Baucarde and Coletti (Belisario) - Donizetti, Trio. "Lift thine eyes," Mme. Sontag, Mdlle. Charton and Mdlle Ida Bertrand (Elijah) - Mendelssohn. Finale, "Alla Trinita beata," Mesdames Sontag, Parodi, Catherine Hayes, Charton, Giuliani, Ida Bertrand, and Frezzolini; Signori Gardoni, Baucarde, Calzolari, Coletti, Belletti, F. Lablache, Lablache, and Chorus (Laudi Spirituali A.D. 1540.) PART III. Quartetto, for Four Performers, on two piano-fortes (composed expressly for this occasion), Messrs. Hallé, Lindsay Sloper, Osborne, and Benedict - Osborne. Duetto, "A figlia incanta," Mesdames Sontag and Frezzolini (first time of their appearing together), (Maria Padilla) - Donizetti. Fantasia, Harp, Mr. ap Thomas Parish Alvars. Duetto, "Un Segreto," Signori F. Lablache and Lablache (Cenerentola) - Rossini. Russian Ballad, " Zolovei; ou le Rossignol," Madame Frezzolini. Aria, "Havvi un Dio," Madame Giuliani (Maria di Rohan) - Donizetti. Brindisi, Mdlle. Ida Bertrand (Lucrezia Borgia) - Donizetti. "Le Dieu de Pathos" (second time of performance in this country), by all the principal Artists, and the Chorus - Gluck. Overture (Le Nozze di Figaro) - Mozart. Prices of Admission.-Boxes, pit tier, £4 4s, ; first tier, £4 4s. second tier, £3 3s, third tier, £2 2s. ; Pit Stalls, £1 1s. ; Pit Tickets, 10s. 6d.; Gallery Stalls, 5s. ; Gallery, 2s. 6d. A few Boxes on the Grand Tier, at £6 6s., may be had by immediate application, which may be made at the principal libraries and music warehouses; at the Box-office of the Theatre ; and to M. Benedict, 2, Manchester-square. (Morning Chronicle (1801), Wednesday, 19 June 1850) (Also: Globe, Thursday, 20 June 1850; Globe, Wednesday, 19 June 1850; Morning Post, Thursday, 20 June 1850; Daily News, Thursday, 20 June 1850; Morning Chronicle (1801), Wednesday, 19 June 1850; Morning Chronicle (1801), Thursday, 20 June 1850.) M. BENEDICT'S ANNUAL MORNING CONCERT at Her Majesty's Theatre, on FRIDAY next, June 21, to commence at two o'clock precisely. Vocalists : Mdme. Sontag, Mdlle. Parodi, Mdme. Giuliani, Mdlle. Ida Bertrand. Miss Catherine Hayes, Mdme. Frezzolini, and Mdlle. Charton ; Signori Gardoni. Calzolari, Baucarde, Coletti, Belletti. F. Lablache and Lablache, comprising all the choral and instrumental resources of the theatre ; under the direction of Mr. Balfe. Piano, Messrs. Hallé, Osborne. Lindsay Sloper, and Benedict ; Harp. Mr. Ap-Thomas: Violin, Messrs. Ernst and Molique ; Violoncello, Signor Piatti ; French Horn. M. Vivier. Early application is solicited for the few remaining boxes and stalls, which may be secured at the box office. HER MAJESTY'S THEATRE.- A Grand Classical, Dramatic, Miscellaneous Concerted MUSICAL ENTERTAINMENT Selected from the following authors :-Mozart, Spohr. Beethoven, Gluck, Ricsi, Rossini, Adolphe Adam, Donizetti, and Mendelssohn, will take place on FRIDAY MORNING, JUNE 21, To commence at Two o'clock precisely. Comprising the talents of Mme. Sontag, Mdlle. Parodi, Mme. Giuliani, Mdlle. Ida Bertrand, Miss Catherine Hayes, Mme Frezzolini, Mdlle Charton; Signori Gardoni, Calzolari, Baucarde, Coletti, Belletti, F. Lablache, and Lablache, supported by all the choral and instrumental resources of the theatre. Under the direction of Mr. Balfe. Piano, Messrs. Hallé, Osborne, L Sloper, and Benedict; Harp, Mr, ap Thomas; Violin, Messrs. Ernst and Molique; Violoncello: Signor Piatti; French Horn: M. Vivier. Amongst other novelties, the celebrated Trio for three Tenors, Signori Gardoni, Calzolari, and Baucarde. Duo for two Sopranos, Mesdames Sontag and Frezzolini. The celebrated Variations of Adolphe Adam, Mme. Sontag. And the admired Russian ballad, " Zolovoi; ou le Rossignol," Mme. Frezzolini. PROGRAMME.-PART 1. Overture, "Der Berggeist" - Spohr. Terzetto "Coraggio, or su del tuo vigor," Mdlle. Parodi, Mme. Giuliani, and Signor Belletti (Fidelio) - Beethoven. Aria, "Il mio Tesoro," Signor Calzolari (Don Giovanni) - Mozart. Fantasia, Violin, on favourite English National Airs, Herr Molique (first time of performance) - Molique. Scene from "Armida," assisted by Mdlles. Parodi, Charton, Giuliani, C. Hayes, Ida Bertrand Signori Gardoni, Calzolari, Baucarde, Coletti, Belletti, F. Lablache, Lablache, and Chorus - Gluck. Concertante, for two Pianofortes, with Orchestral Accompaniments, Messrs. Hallé and Benedict - Benedict. Variations (by desire), " Ah, vous dirai-je," Mme. Sontag; Flute Obligato, Mons. Remusat (Le Torreador) - A. Adam. Adelaide, Sinor Gardoni - Beethoven. (His first appearance in London this season.) Solo, Violoncello, Signor Piatti, on favourite Russian airs (first time of performance) - Piatti. Aria, "Porgi amore," Mdlle. Parodi (Nozze di Figaro) - Mozart. Trio (three Basses) '; Vedii quell' nom," Signori Coletti, Belletti, and Lablache (Chiara di Rosenberg) Ricci. Air "Du Page," Paroles de M. Scribe; arranged for and sung by Mdlle. Charton (MS. Opera) - Benedict. Finale. " Ave Verum," Mesdames Sontag, Parodi, C. Hayes, Charton, Giuliani, Ida Bertrand, and Frezzolini; Signori Gardoni, Calzolari., Baucarde, Coletti, Belletti, F. Lablache, Lablache, and Chorus - Mozart. PART II. New Festival Overture (first time of performance in London) - Benedict. Terzetto, for Three Tenors, "In quale aspetto imbelle" (by general desire), Signori Gardoni, Calzolari, and Baucarde (Armida) - Rossini Andante, French Horn, M. Vivier - Vivier. The Morning Song" (first time), the poetry by Barry Cornwall ; Mme. Sontag, composed expressly for her by - Benedict. Barcarole, "Sella poppa del mio brik," Sig. Belletti (La Prigione d'Edinburgo) - Ricci. Andante, front the Sonata for Pianoforte and Violin, dedicated to Kreutzer, performed by Messrs. Benedict and Ernst - Beethoven, New Ballad, "'The Joy of Tears," Miss C. Hayes (by general desire) - Balfe. Rondo, "In questo semplice," Mine Frezzolini (Betly) - Donizetti. Duetto, ) ''Quando di sangue tinto,"Signori Baucarde and Coletti (Belisario) - Donizetti, Trio. "Lift thine eyes," Mme. Sontag, Mdlle. Charton and Mdlle Ida Bertrand (Elijah) - Mendelssohn. Finale, "Alla Trinita beata," Mesdames Sontag, Parodi, Catherine Hayes, Charton, Giuliani, Ida Bertrand, and Frezzolini; Signori Gardoni, Baucarde, Calzolari, Coletti, Belletti, F. Lablache, Lablache, and Chorus (Laudi Spirituali A.D. 1540.) PART III. Quartetto, for Four Performers, on two piano-fortes (composed expressly for this occasion), Messrs. Hallé, Lindsay Sloper, Osborne, and Benedict - Osborne. Duetto, "A figlia incanta," Mesdames Sontag and Frezzolini (first time of their appearing together), (Maria Padilla) - Donizetti. Fantasia, Harp, Mr. ap Thomas Parish Alvars. Duetto, "Un Segreto," Signori F. Lablache and Lablache (Cenerentola) - Rossini. Russian Ballad, " Zolovei; ou le Rossignol," Madame Frezzolini. Aria, "Havvi un Dio," Madame Giuliani (Maria di Rohan) - Donizetti. Brindisi, Mdlle. Ida Bertrand (Lucrezia Borgia) - Donizetti. "Le Dieu de Pathos" (second time of performance in this country), by all the principal Artists, and the Chorus - Gluck. Overture (Le Nozze di Figaro) - Mozart. Prices of Admission.-Boxes, pit tier, £4 4s, ; first tier, £4 4s. second tier, £3 3s, third tier, £2 2s. ; Pit Stalls, £1 1s. ; Pit Tickets, 10s. 6d.; Gallery Stalls, 5s. ; Gallery, 2s. 6d. A few Boxes on the Grand Tier, at £6 6s., may be had by immediate application, which may be made at the principal libraries and music warehouses; at the Box-office of the Theatre ; and to M. Benedict, 2, Manchester-square. (Morning Post, Wednesday, 19 June 1850) HER MAJESTY'S THEATRE. M. BENEDICT'S CONCERT. M. BENEDICT'S annual concert is always one of the most e important and attractive among musical entertainments of this class. This year it assumed even a more striking character than usual, the locality having been changed from the concert room to the vast area of the theatre itself, and the programme assuming those monster proportions, both as to quantity and the musical calibre of the artists, to which the operatic public have lately been accustomed by the grand morning musical entertainments which have been given this season at her Majesty's Theatre. In fact, M. BENEDICT'S concert may be regarded almost as one of the series of those performances, the array of vocal and instrumental talent engaged being more in proportion to the vast resources of a great lyrical establishment than to those of any ordinary private entrepreneur. We do not pretend to notice all the pieces given, but only to mention a few of those most successful. The vocal portion of the programme combined the talents of SONTAG, FREZZOLINI, CATHERINE HAYES, PARODI, CHARTON {the charming prima donna of Mr. MITCHELL'S French opera), GIULIANI, IDA BERTRAND, GARDONI (his first appearance this season), CALZOLARI, BAUCARDE, COLETTI, BELLETTI, F. LABLACHE, and the great LABLACHE himself. In Instrumental talent the concert was also very rich. HALLE, BENEDICT, LINDSAY SLOPER, and G. OSBORNE were the pianists; ERNST and MOLIQUE the violinists-; M. PIATTI the violoncellist; Mr. AP-THOMAS contributed a harp solo; and the incomparable VIVIER a solo on the horn. Such a concentration promised a rich treat, and the audience, with which the theatre was crowded, was not disappointed. Among the most striking vocal pieces was SONTAG's "Ah, vous dirai-je," which rivals in florid brilliancy and feathery finish her celebrated RODE'S variations. In this the charming vocalist was rapturously encored. Mdlle. CHARTON created a very favourable sensation by her very pleasing execution of a piece from a manuscript opera by BENEDICT to a libretto by SCRIBE; and PARODI gave with great effect the favourite canzone of Stephano from La Tempesta. A duet by SONTAG and FREZZOLINI ; the Zolovoi of the latter ; a trio from the Elijah by SONTAG, CHARTON, and IDA BERTRAND; the favourite trio for three tenors, sung by CALZOLARI, BAUCARDE, and GARDONI (the latter in place of Mr. SIM REEVES) ; and some other excellent morceaux, served to fill the measure of vocal attraction. Besides the songs and concerted pieces, there were some grand choruses. Among these one of the most effective was a grand scena from GLUCK's Armida. The instrumental pieces comprised three overtures, of which not the least interesting was BENEDICT'S festival overture, composed for the Liverpool Festival last year, and played there for time first time ; a violin fantasia on English themes, played by MOLIQUE, with exquisite purity and taste, a violin solo by ERNST ; solos by PIATTI and VIVIER; OSBORNE'S grand march for four performers, executed by HALLE, LINDSAY SLOPER, OSBORNE, and BENEDICT; and a pianoforte duet by Hallé and BENEDICT. From this brief selection the reader will gather that the concert was more than ordinarily attractive. Let us add that the programme was arranged with much taste and skill, so as to combine as much sterling stuff as possible with the quantity of amusing music necessary for so large a miscellaneous audience. The orchestra was on this occasion transferred to the stage. (Morning Chronicle (1801), Saturday, 22 June 1850) MR. BENEDICT'S ANNUAL CONCERT. The gorgeous salle of this magnificent theatre presented yesterday morning a truly animated and brilliant spectacle. The company was of the choicest quality ; and we scarcely remember to have seen during the present season so dazzling an assemblage of beauty and fashion. Every box was occupied, the galleries crowded, and extra stalls had been erected in the orchestra (the band being placed on the stage) for the accommodation of the public. All this was extremely gratifying- firstly, to Mr. Benedict, who could not fail to recognise in it a substantial proof of the very high estimation in which he is held by the British public ; secondly, to the artists, who are always cheered and excited by the sight of a crowded house ; and, thirdly, to the visitors, whose hearts seem on such occasions to expand to a most unworldly size, warmed by the genial influence of the fellowship of joy by which they are environed. The programme included nearly all the artists of Mr. Lumley's establishment ; in addition to whom Mr. Benedict had engaged the fascinating and spirituelle Mdlle. Charton, the renowned violinists, Herren Molique and Ernst ; the admirable pianists, Messrs. Hallé, Osborne, and Lindsay Sloper; the popular harpist, Mr. Ap Thomas, and the wonder-working horn-player, M. Vivier! We have the greatest respect for all the admirable artists who appeared on this occasion, and should be delighted to pay homage to their respective merits in detail ; but what is to be done ? There were thirty-three long pieces, performed by no less than twenty-four vocal and instrumental artists of first-rate reputation - not to speak of the band and chorus ! In the midst of so much excellence, how (paying due regard to justice) are we to particularise ? Whom should we mention, and whom leave out ? We have examined the programme attentively, and cannot tell where to begin, or, beginning, where to end. We will, therefore, say nothing more about it than this -let our readers imagine nearly all the leading artists of Europe assembled in one orchestra and singing and playing for the space of five hours and a half, to a house crowded to the ceiling, about twenty times as much as any reasonable being could have expected them to do, and they will be able to form to themselves a fair notion of Mr. Benedict's concert of yesterday. (Morning Post, Saturday, 22 June 1850) Her Majesty's Theatre. Mr. Benedict gave his annual grand concert of vocal and instrumental music yesterday in presence of a fashionable and brilliant audience that completely filled the theatre. The programme, divided into three parts, comprised about 30 morceaux in all, the execution of which occupied something less than five hours. The catalogue of performers included the names of Madame Sontag and the principal artists of Her Majesty's 'Theatre, Mdlle. Charton, from the St. James's; Herr Ernst, Herr Molique, M. Vivier, Signor Piatti, M. Hallé, and other eminent instrumentalists. The programme, although leaning in a great measure to the popular style, was well varied and interesting. Mr. Benedict, with his accustomed modesty, was very chary in exhibiting his talent, and only appeared once as a pianist, in a composition of his own -the concertante for two pianofortes and orchestra of which we spoke so favourably last year. M. Hallé joined Mr. Benedict in the execution of this spirited and effective piece, which was admirably played and received with great applause. The other compositions by Mr. Benedict were vocal. Mdlle. Charton, in a florid aria from a manuscript opera, evinced unexpected familiarity with the Italian school of vocalisation. The air, an elegant specimen of the bravura style, was rendered with equal animation and facility by the talented prima donna of Mr. Mitchell's theatre, who was honoured by the most flattering marks of approval. "The morning song," a short and sparkling cavatina, composed for Madams Sontag, and sung by that consummate vocalist with a grace and neatness quite her own, was equally successful, and obtained the distinction of an encore. Both these pieces were instrumented with Mr. Benedict's usual taste and knowledge of effect. The "'Festival overture" composed for-the Norwich musical meeting in 1848, although announced in the programmes, was omitted, for some unexplained reason, much to the regret of every one present. The vocal programme included a large number of morceaux so familiar to the public that they demand no special notice. Among the most successful were the "Ah Vous dirai-je Maman," with Adam's variations, by Madame Sontag, accompanied by M. Remusat on the flute (encored); the trio for basses from Ricci's Chiara di Rosenberg, by Coletti, Belletti, and Lablache; the trio for tenors from Rossini's Armida. by Gardon, Calzolari, and Baucarde; the unaccompanied trio for female voices, from Mendelssohn's Elijah, "Lift thine eyes," by Madame Sontag, Mdlle. Charton, and Mdle. Ida Bertrand (sung much too slowly); the lively duet from Donizetti's Maria Padilla, "Ah figlia incanta," by Madame Sontag and Madame Frezzolini ; the "Un Segreto," from Cenerentola by Lablache and F. Lablache; an air from Maria di Rohan by Madame Giuliana, &c. Signor Gardoni made his first appearance in public since his return from St. Petersburgh and in the trio from Armida showed that his voice had lost none of its charming quality, while it seemed to have gained in strength. Miss Catherine Hayes was extremely well received in Balfe's popular new ballad, "The joy of tears," which she sang with great feeling. The full vocal pieces were a scene from Gluck's Armida, and an "Ave verum" of Mozart, in each of which the principal singers took part. The last is a beautiful composition, and was perfectly well executed. Mdlle. Parodi gave the lively canzone of Stephano, from La Tempesta with great fire, and was warmly applauded. The instrumental part of the programme was equally varied. The orchestra of the theatre, under the energetic conduct of Mr. Balfe, who directed the entire concert, performed Spohr's fine overture to Der Berggeist; M. Molique played a very clever fantasia of his own, for violin and orchestra, on "English national airs," with his usual spirit and accuracy; Signor Piatti gave a solo for the violoncello on "favourite Russian airs," with that perfection of tone and style for which he is remarkable; Ernst and Hallé played the andante, with variations for violin and pianoforte, from Beethoven's grand sonata dedicated to Kreutzer, in first rate style, and were warmly applauded; Mr. Ap Thomas executed a fantasia of Parish Alvars on the harp; and MM. Hallé, Lindsay Sloper, Benedict, and Osborne, united in the performance of a "quartetto" for four performers on two pianofortes, the composition of the last named gentleman. M. Vivier, whose public appearances have been very rare of late, delighted the audience with one of his most masterly performances on the horn. The composition, an andante in B minor with accompaniments for the orchestra besides being well adapted to develop the capabilities of the solo instrument and the peculiar merits of Mi. Vivier's playing, contains many passages that attract notice from their intrinsic beauty alone without reference to executive display. The principal theme, a phrase of genuine melody which appears twice in different keys, brought out the full rich tone of the performer in pleasing variety, while in the cadenzas he introduced with great felicity some of those novel and extraordinary effects of harmony which have perplexed both theorists and practicians. M. Vivier's performance was listened to with the utmost attention, and loudly applauded at the conclusion. On the whole, in spite of its extravagant length, the programme appeared to give general satisfaction, since the majority of time audience remained until the end. As Mr. Benedict is engaged to accompany Mdlle. Jenny Lind in her American trip immediately after the present season, this concert may be regarded as a farewell to his friends and the public until his return to England in 1852. (The Times, Saturday, 22 June 1850) MR. BENEDICT'S ANNUAL GRAND CONCERT. THIS fashionable réunion was held in the Opera House on Friday week last, and proved certainly one of the most interesting and successful of the season concerts. M. Benedict was in great force and the music of his composing, which formed a considerable item in the entertainment, cannot fail to add to his reputation ; of this a concertante duo for two pianofortes, with orchestral accompaniments, struck us at a first hearing as a work of superior metal ; it was capitally played by the composer and C. Hallé. A new festival overture is also a production of importance, and an air called "du Page," from a MS. opera, by Benedict, to words of M. Scribe, sung by Mdlle. Charton, is an exceedingly pleasing composition, and excited great delight, what with the charming singing of Charton and the intrinsic beauties of the music. M. Benedict performed the slow movement of the Kreutzer Sonata with Ernst, and in the quatuor for two pianofortes (Osborne), in company with Hallé, Sloper, and Osborne, contributed still further to the enjoyment of his audience. Another new production was a solo with orchestral accompaniments by Piatti, the violoncellist, called a Fantasia upon favourite Russian airs. This is a work of more pretension than any we have before heard from his own pen, and it is full of all the wonderful pieces of execution and rich intonation for which Piatti is so reputed. Herr Molique also favoured us with a new fantasia for violin and orchestra on English airs, but in this we could find nothing to enjoy ; and his playing is not likely to create a reputation amongst us, albeit he has the merit of many excellent compositions. The whole strength of the vocal and orchestral resources of her Majesty's Theatre was displayed in a variety of solos and concerted pieces, of which the "Ave Verum " (Mozart), and "Le Dieu de Paphos " (Gluck), and the duo from the Favorita, by Lablache and Signor Gardoni, who sang for the first time this season, were the most deserving of commendation. The length of Mr. Benedict's concert has already passed into a proverb and a joke ; this one would have been quite unendurable had it not been for the goodness of most of the music. A very general fault in all our musical performances is their tedious length, which often compels us to "make a toil of a pleasure." (The Literary gazette : A weekly journal of literature, science, and the fine arts, Saturday, 29 June 1850) Thursday, 14 November 1850 : Literary Association of the Friends of Poland's Polish Ball at Guildhall, City of London. THE APPROACHING POLISH BALL. Yesterday the committee assembled in Guildhall, Mr. Deputy Holt in the chair. There were present Lord Dudley Stuart, M.P., Mr. Chisholm Anstey, MP., Mr. Deputy Eagleton, Mr. Young, Mr. Deputy Britten, Mr. George Walter, Mr. Deputy Obbard, Mr. Wilkinson, Mr. Barber, Mr. Tickner, Mr. Hardy, Mr. Ex-Sheriff Nichol, Mr. Game, Mr. Philip Salomons, Mr. Snelling, Mr. Read, Mr. Deputy Peacock, Mr. Thompson, Mr. Carter, Mr. W. Davidson, &c. Lord Dudley Stuart handed in a long list of patrons and patronesses, and stated his opinion (an opinion in which the whole committee concurred) that the night of the 14th of November would be distinguished by as brilliant and numerous an assemblage as had been seen on any of the numerous occasions on which the friends of the charity had assembled in the magnificent City hall. His lordship then stated, amidst loud applause, that the following distinguished vocalists had most liberally volunteered their services upon this occasion : - Mdlle. Angri (by permission of the directors of the Great National Concerts), Miss Messent, Miss Williams, Miss Ransford, Miss Bassano, Miss Dolby, Mr. G. Benson, Mr. Whitworth, Mr. Williams, Mr. Frank Bodda; conductor, Mr. Lindsay Sloper. The Chairman informed the committee that the demand for tickets was unusually great. (The Standard, Wednesday, 30 October 1850) (Also: Morning Advertiser, Wednesday, 30 October 1850; Morning Chronicle (1801), Wednesday, 30 October 1850; Globe, Wednesday, 30 October 1850.) THE APPROACHING POLISH BALL AT GUILDHALL. - This fashionable entertainment, which is fixed for the 14th inst., promises to equal in splendour and attraction the previous ones. When it is remembered that, in addition to the gorgeous magnificence displayed in the Guildhall on the Lord Mayor's-day, the managing committee of the ball has made every effort tending to the comfort and enjoyment of the dancers, there cannot be a doubt that a brilliant assembly will, as hitherto, fill the hall. For those who may not be disposed to take an active share in the gay proceedings of the evening a very select concert will be provided by the most distinguished artistes, including Mille. Angri. Miss Messent, Miss Ransford, Miss Bassano, Miss Williams, Miss Dolby, Mr. G. Benson, Mr. Williams, Mr. Frank Bodda, and Mr. Whitworth (under the direction of Mr. Lindsay Sloper), who have generously offered their services on the occasion. Thus the benevolent object of this undertaking, combined with a very rational amusement, will render the approaching fete one of the most brilliant at this comparatively quiet season. (The Lady's Newspaper & Pictorial Times, Saturday, 2 November 1850) (Also: Atlas, Saturday, 2 November 1850.) THE APPROACHING POLISH BALL AT GUILDHALL. - This fashionable entertainment, which is fixed for the 14th of next month, promises to equal in splendour and attraction the previous ones. When it is remembered that, in addition to the gorgeous magnificence displayed in the Guildhall on the Lord Mayor's day, the managing committee of the ball has made every effort tending to the comfort and enjoyment of the dancers, there cannot be a doubt that a brilliant assembly will, as hitherto, fill the hall. For those who may not be disposed to take an active share in the gay proceedings of the evening, a very select concert will be provided by the most distinguished artistes, including Mdlle Angri, Miss Messent, Miss Ransford, Miss Bassano, Miss Williams, Miss Dolby, Mr G. Benson, Mr Williams, Mr Frank Bodda, Mr Whitworth, under the direction of Mr Lindsay Sloper, who have generously offered their services on the occasion. Thus the benevolent object of this undertaking, combined with a very rational amusement, will render the approaching fete one of the most brilliant at this comparatively quiet season. (Bell's Life in London and Sporting Chronicle, Sunday, 3 November 1850) THE APPROACHING POLISH BALL AT GUILDHALL. - We are glad to hear that Thursday next, the 14th instant, will furnish as satisfactory a proof of the interest of the public in the fate of the Polish exiles as could be desired. The managing committee have disposed of an immense number of tickets, and provided every comfort and accommodation for the brilliant company which will assemble on the occasion. All the decorations used at the Lord Mayor's banquet will be preserved; and old Gog and Magog will look, through along vista of emblazoned banners and sparkling lights, upon as gay a throng as ever footed it to the sweetest music; and the coup d'oeil, at every period of the night, will be one of the most dazzling effect. To the attractions of the ball-room will be added that of an excellent concert, supported by Mlle. Angri, Miss Dolby, Miss Messent, Miss Ransford, Miss Bassano, Miss Williams, Mlle. Coulon, Mr. Allen, M. Jules Lefort, Mr. Williams, Mr. Frank Bodda, and Mr. Whitworth, under the conductorship of Mr. Lindsay Sloper. Judging from the patronage bestowed upon this fete by the highest of the nobility, we are sure that, as its predecessors, it will have a great and gratifying success. (The Lady's Newspaper & Pictorial Times, Saturday, 9 November 1850) (Also: Atlas, Saturday, 9 November 1850.) POLISH BALL. The opposition that has been made in certain quarters to the hall annually given for the relief of the Poles seems to have had but little effect; for the attendance last night at the Guildhall, when the festival got up under the auspices of the Lord Mayor took place, was quite as large as upon any former occasion. Several of the civic functionaries, headed by the Lord Mayor, were present; and about midnight the hall was completely filled with the " Friends of Poland," many of them dressed in fancy costumes-presenting a coup d'oeil not often equalled for variegated brilliancy. The decorations provided for the November feast were left untouched, and the gay and party-coloured trophies suspended about the hall afforded a pleasing and animated contrast to the neutral physiognomy of the architecture. The windows and panels were, as usual, ribbed with gas, and the thousands of burning jets which were thus visible formed not only a marked feature of embellishment, but threw the whole area into a blaze of light that rivalled day itself in gorgeous effulgence. The official chambers were devoted, as before, to the accommodation of the guests; and the ample resources of the Guildhall in this respect are too well known to need eulogy now. There is no locality in London where a large public ball can be carried on with the comfort and convenience ensured here; and this without regard to numbers, as the vast profusion of individuals drawn together upon such occasions as the present has again and again demonstrated. In addition to the amusement of dancing in the great hall, an excellent concert was performed in the council chamber by Mdlle. Angri, Miss Dolby, Miss Bassano, Miss Messent, Miss Ransford, Mr. Allen, Mr. T. Williams, M. Lefort, Mr. Whitworth, and others, conducted by Mr. Lindsay Sloper, whose exertions were in all cases gratuitous. The access to the concert-room was cut off to the late comer by the crowds that flocked into it; but the applause and encores that reached the listeners in the neighbouring vestibules testified the extent of the gratification kindled by the talent of the several performers. Besides the Lord Mayor, Alderman Carden, and Mr. Sheriff Hodgkinson, there were present the Earl and Countess of Devon, Lieutenant Colonel Rowland Smyth, the Hon. Mrs. Rowland Smyth, the Hon. Mr. Stanley, Captain Townshend, R.N., Mrs. Townshend, Lieut. Colonel Rochfort, Mr. Anstey, M.P., Lady Webster, Lord Dudley Stuart, the Rev. Mr. Fisk, &c. (The Standard, Friday, 15 November 1850) THE POLISH BALL.-A brilliant and fashionable company assembled last night in Guildhall, to do honour to, the ball in aid of the funds of the Literary Association of the friends of Poland. Among the early arrivals we noticed the Lord Mayor, Alderman Carden. Sheriff Hodgkinson, Lord Dudley Stuart, Lord Marcus Hill, Colonel Rowland Smith and Lady, Captain Townshend, R.N., M.P., the Hon. Mrs. Stanley, Sir Henry Webb, Mr. C. Anstey, M.P., Major Herbert Edwardes, &c., &C. Dancing commenced at an early hour to Adams's celebrated band, in the Great Hall, which was most elegantly and tastefully fitted up for the occasion. A concert was given simultaneously in the Council Chamber, under the direction of Mr. Lindsay Sloper, supported by Mdlle. Angri, Miss Messent, Miss Ransford, Miss Bassano, Miss Dolby, Mr. Allen, Mr. Jules Lefort, Mr. Frank Bodda, Mr. T. Williams, and Mr Whitworth. One of the chief attractions of the evening was a song entitled " The Exile of Poland" written expressly for the occasion by the Right Honourable the Countess Beauchamp, the music by Brinley Richards, and which was admirably given by Miss Dolby. Between the two halfs of the concert, a grand duet for two piano-fortes, on subjects from the Huguenots, composed by Osborne, was performed by Mdlle. Coulon and Mr. Lindsay Sloper, which created universal admiration. Fancy dresses were few and far between, and military dresses were not so abundant as on former occasions. A transparency of the Palace of Glass for the Great Exhibition of 1851 attracted its share of attention. The arrangements to avoid a rush were excellent, and the refreshments on a most liberal scale. Dancing was kept up with animation till a very late hour. We were informed that the institution would benefit more than 1,000l. by the evening's proceeds. (Morning Chronicle (1801), Friday, 15 November 1850) (Also: Globe, Friday, 15 November 1850; Bell's New Weekly Messenger, Sunday, 17 November 1850.) " Freedom shrieked w hen Kosciusko fell." The Guildhall retained all the decorations with which it was embellished on the occasion of the Lord Mayor's day, and when lighted up presented an appearance of the most brilliant character. The Council Chamber was fitted up for the purposes of concert-room, and the various ante-chambers were tastefully ornamented with works of art and pieces of sculpture. In a recess in the Court of Aldermen was placed admirable transparency, representing the palace of glass now in course of erection for the purposes of the exhibition in 1851, and altogether the arrangements made by the committee to afford entertainment and give satisfaction to the company, were of the most perfect description. The doors were thrown open at eight o'clock, and from that time until twelve o'clock there was constant succession of company arriving the great centre of attraction-the ladies forming, as they always do, when the cause to be promoted is a good and virtuous one, a very large portion of the assembly. About ten o'clock the Earl of Devon and Lady Devon arrived. Shortly afterwards. Lord Dudley Stuart and the Lord Mayor and Sheriffs made their appearance, and were loudly cheered. At this moment the concert commenced. Amongst the vocalists were Mademoiselle Angri, Miss Messent, Miss Ransford, Miss Bassano, and Miss Dolby; Mr. Allen, M. Jules Lefort, Mr. F. Bodda, Mr. T. Williams, and Mr. Whitworth. The whole being under the direction of Mr. Lindsay Sloper. The following is the programme of the concert: Part I.-Duetto, Quando di sangue tinto," Belisario (Donizetti), Mr. Allen - Between the parts grand duet for two pianofortes, subjects from Les Huguenots, Mademoiselle Coulon and Mr. Lindsay Sloper (Osborne) Part II. Duetto, "Dunque io sono," Il Barbiere (Rossini), Miss Ransford and Mr. Bodda; aria, " terra ci divisero (Mercadante), Mr. T. Williams -rondo finale, "Non piu mesta," Cenerentola (Rossini), Mdmlle. Angri-romance, "Sleeping l dreamed"(Wallace), Mr. Allen-ballad, "Smiling faces" (S. Glover), Miss Ransford -song, "The Sailor Boy's Return" (F. Romer) Mr. Mr. Whitworth Scotch song, " Comin' thro' the rye," Miss Messent song, "Le Muletier de (Victor Masse), M. Jules Lefort-Scotch song, " Bonnie Dundee," Miss Dolby-quartette, I (Biletta), Miss Ransford. Miss Dolby, Mr. T. Williams, and Mr. Bodda. The singing throughout was exceedingly good. Madlle. Angri was encored in the aria " No, no, no," and Mr. Allen's sweet tenor was heard to great advantage in the airs which he executed. Miss Dolby sang "The Exile of Poland" with great taste and feeling, and probably we cannot and probably we cannot do better than give the words of the song here. They are follow: An exile from that glorious For ever sighing to be free, The daughter of a valiant band, Oppressed by tyranny. Long did mourn o'er Poland's wrongs, And pine for its new birth, The groaning of those countless throngs Has bow'd me to the earth. I've wept till I can weep no more, I've sighed until heart would break; If human grief could break a heart Once tremblingly awake. Through pain and anguish, grief and care The bert still struggles on ; And fond remembrance lingers there. O'er joys for ever gone! It clings to scenes too soon When all around was bright and fair; It dwells unbidden on the past. And cherishes despair. Amidst this sadness dawns light To cheer me from above. Invisible to mortal sight, The harbinger of love. Yet bright and brighter shines this star, At first but faintly gleaming. It guides in safety from afar, Through clouds and darkness beaming. The rays of hope surround path, And banish all care. They teach me that a life of peace Alone can breathe in prayer. The concert gave very general satisfaction. The ball was kept up with great spirit from nine o'clock until a late hour, Adams's band lending its best strains to give effect to the dance. There were but few fancy dresses The whole went off with great eclat, and we have every reason to believe that the result will be highly beneficial to the fund for the relief of the distressed Poles. It is but justice to the gentlemen who officiated as stewards, to say that they were most energetic and anxious in in their efforts to promote the comfort of the company. (Morning Advertiser, Friday, 15 November 1850) The Polish Ball.-A brilliant and fashionable company assembled on Thursday night in Guildhall, to do honour to the ball in aid of the funds of the Literary Association of the friends of Poland. Among the early arrivals was Lord Dudley Stuart, Lord Marcus Hill, Captain Townshend, R.N., M.P,, the Hon. Mrs. Stanley, Major Herbert Edwardes, &c. &c. Dancing commenced at an early hour to Adam's celebrated band, in the Great Hall, which was most elegantly and tastefully fitted up for the occasion. A concert was given simultaneously in the Council Chamber, under the direction of Mr. Lindsay Sloper, supported by Mdlle. Angri, Miss Messent, Miss Ransford, Miss Bassano, Miss Dolby, Mr. Allen, Mr. Jules Lefort, Mr. Frank Bodda, Mr. T. Williams, and Mr. Whitworth. One of the chief attractions of the evening was a song entitled "The Exile of Poland," written expressly for the occasion by the Right Honourable the Countess Beauchamp. We were informed that the institution would benefit more than 1,000l. by the evening's proceeds. (Hertford Mercury and Reformer, Saturday, 16 November 1850) THE POLISH BALL. - On Thursday night a brilliant and fashionable company assembled in Guildhall to honour the ball in aid of the funds of the Literary Association of the Friends of Poland. Among the early arrivals were, the Lord Mayor, Alderman Carden, Sheriff Hodgkinson, Lord Dudley Stuart, Lord Marcus Hill, Captain Rowland Smith and Lady, Captain Townshend, R.N., M.P, the Hon. Mrs. Stanley, Sir H. Webb, Mr. C. Anstey, M.P., Major Herbert Edwardes, &c. Dancing commenced at an early hour to Adams's celebrated band in the Great Hall, which was most tastefully fitted up. A concert was given simultaneously in the Council Chamber, under the directions of Mr. Lindsay Sloper. One of the principal attractions of the evening was a song entitled "The Exile of Poland," written expressly for the occasion by the Right Hon. the Countess Beauchamp, the music by Brinley Richards, and which was charmingly rendered by Miss Dolby. Between the two parts of the concert a grand duet for two pianofortes on subjects from "The Huguenots," composed by Osborne, was performed by Mlle. Coulon and Mr. Lindsay Sloper, which excited universal admiration. Fancy dresses were few, and military ones not abundant. A transparency of the Palace of Glass for the Great Exhibition of 1851 attracted its share of attention. The arrangements were excellent, and the refreshments profuse. Dancing was kept up with spirit until a very late hour. It was understood that the proceeds amounted to about £1000. (The Lady's Newspaper & Pictorial Times, Saturday, 16 November 1850) THE POLISH BALL. - A brilliant and fashionable company assembled on Thursday night, in Guildhall, to do honour to the ball in aid of the funds of the Literary Association of the friends of Poland. Among the early arrivals we noticed the Lord Mayor, Alderman Carden, Sheriff Hodgkinson, Lord Dudley Stuart, Lord Marcus Hill, Colonel Rowland Smith and lady, Captain Townshend, R.N., M.P., the lion Mrs Stanley, Sir Henry Webb, Mr. C. Anstey, M.P., Major Herbert Edwardes, &c, &c. Dancing commenced at an early hour to Adams's celebrated band, in the great hall, which was most elaborately and tastefully fitted up for the occasion. A concert was given simultaneously in the council chamber, under the direction of Mr Lindsay Sloper, supported by Mdlle Angri, Miss Messent, Miss Ransford, Miss Bassano, Miss Dolby, Mr Allen, Mr Jules Lefort, Mr Frank Bodda, Mr T. Williams, and Mr Whitworth. One of the chief attractions of the evening was a song entitled "The Exile of Poland," written expressly for the occasion by the Right Hon the Countess Beauchamp, the music by Brinley Richards, and which was admirably given by Miss Dolby. Between the two parts of the concert, a grand duet for two pianofortes, on subjects from "The Huguenots," composed by Osborne, was performed by Mdlle Coulon and Mr Lindsay Sloper, which created universal admiration. Fancy dresses were few and far between, and military dresses were not so abundant as on former occasions. A transparency of the Palace of Glass for the Great Exhibition of 1851 attracted its share of attention. The arrangements to avoid a crush were excellent, and the refreshments on a most liberal scale. Dancing was kept up with animation till a very late hour. We are informed that the institution would benefit more than £1,000 by the evening's proceeds. (Bell's Life in London and Sporting Chronicle, Sunday, 17 November 1850) The Polish Ball.-A brilliant and fashionable company assembled on Thursday night in Guildhall, to do honour to the ball in aid of the funds of the Literary Association of the friends of Poland. Dancing commenced at an early hour to Adam's celebrated band, in the Great Hall, which was most elegantly and tastefully fitted up for the occasion. A concert was given simultaneously in the Council Chamber, under the direction of Mr. Lindsay Sloper, supported by Mdlle. Angri, Miss Messent, Miss Ransford, Miss Bassano, Miss Dolby, Mr. Allen, Mr. Jules Lefort, Mr. Frank Bodda, Mr. T. Williams, and Mr. Whitworth. Fancy dresses were few and far between, and military dresses were not so abundant as on former occasions. A transparency of the Palace of Glass for the Great Exhibition of 1851 attracted its share of attention. We were informed that the institution would benefit more than 1,000l. by the evening's proceeds.- Globe (Caledonian Mercury, Monday, 18 November 1850) Tuesday, 26 November 1850 : Miss Dolby's Second Soirée Musicale at Her Residence, 2, Hinde-Street, Manchester-Square. Musical Events.-Miss Dolby commenced on Tuesday night, at her residence in Hinde-street, a series of residence in Hinde-street, a series of three subscription Soirees Musicales. In addition to her own charming talent, she has secured the co-operation Miss Birch, Miss Thornton, and Miss Eliza Birch, Messrs. Benson, Bond*, Swift, and Jules Stockhausen, in the vocal selections; whilst the instrumental pieces are supported by the abilities of Miss Kate Loder, Mr. W. S. Bennett, Mr. W. H. Bennett, Mr. W. H. Palmer, Mr. Rockstro, Mr. Lindsay Sloper, Mr. Blagrove, M. Schimon, Mr. Dando, and Mr. Lucas. The second concert will be the 26th instant. (Illustrated London News, Saturday, 16 November 1850) ADVERTISEMENTS. MISS DOLBY begs to announce that the SECOND of her ANNUAL SERIES of Three SOIREES MUSICALES will take place at her residence, 2, HINDE STREET, MANCHESTER SQUARE, on TUESDAY, the 26th instant, to commence at EIGHT O'CLOCK precisely. The Instrumental Music will comprise Haydn's Quartet in D, and a Trio, by M. Silas (first time of performance in London). Vocal Performers, Miss Birch, Miss Dolby, Mr. Benson, and M. Jules Stockhausen. Instrumentalists, Messrs. Lindsay Sloper, Blagrove, Dando, Schimon, and Lucas. - Single Tickets, HALF-A-GUINEA each, to be had of MISS DOLBY only. The third add last Soirée will take place on December the 10th. (The Musical world, Saturday, 23 November 1850) (Also: The Musical world, Saturday, 23 November 1850.) MISS DOLBY'S SOIREES MUSICALES. Miss Dolby's second soirée took place at her residence in Hinde-street, Manchester-square, on Tuesday evening. Her drawing-room was graced by a numerous assemblage of fashionable visitors and distinguished artists, and the music performed was generally of the highest class. The popular vocalist was assisted by Miss Birch, Messrs. Blagrove, J. Loder, Dando, Lucas, Swift, Stockhausen, Schimon, and Lindsay Sloper. The third and last soirée is announced to take place on the 10th of December. (Morning Post, Friday, 29 November 1850) Musical Events.-Miss Dolby gave her second soiree musicale last Tuesday. assisted by Miss Birch, Swift, and M. Stockhausen, the accompanyist being M. Schimon. In the programme there was trio by Silas for the pianoforte (Lindsay Sloper), violin (Blagrove), and violoncello (Lucas), and MS. cantata ("AEnone,") sung by Miss Dolby, composed by Miss Laura Barker, a most accomplished writer. The third and last soiree will be on the 10th of December. (Illustrated London News, Saturday, 30 November 1850) MISS DOLBY'S SOIREES MUSICALE. THE third and last subscription soirée, of a series of three, came off on Tuesday. We were unable to attend the first two; we have, therefore, much pleasure in presenting the programme of the last, that our readers may be enabled to judge of the excellence of the others. Miss Dolby's concerts have always been the best of their kind, as may be gathered from the following specimen :- PART I. Quartett, in G minor, two Violins, Viola, and Violoncello, Messrs. Blagrove, Clementi, Dando, and Lucas - Mozart. Aria, "Nasce al bosco," M. Jules Stockhausen - Handel. Aria, "O salutaris hostia," Miss Dolby - Cherubini. Selections from the Pianoforte Works, Romance - Genevieve, Rondo Piacevole, Op. 26, E minor, Mr. W. Sterndale Bennett - W. S. Bennett. Song, "The Slave," Miss Eliza Birch, Keiser. Songs, "My faint spirit," "Wishes," Miss Dolby - G. A. Macfarren. Quartetts without Accompaniment, "O hills! O vales," "The nightingale has been away," Miss E. Birch, Miss Dolby, Mr. Swift, and M. Stockhausen - Mendelssohn. PART II. Trio, in G. Op. 2, Pianoforte, Violin, and Violoncello, Mr. W. S. Bennett, Mr. Blagrove, and Mr. Lucas - Beethoven. Aria, "Dalla sua pace," Mr. Swift - Mozart. Song, "Life's Seasons," (first time of performance), Miss Dolby - Frank Mori. Solo, Violin, on Airs from Lucia di Lammermoor, Mr. Blagrove - Blagrove. Songs. "Abfarht von der Alp" "Die Ungedild" Jules Stockhausen - Schubert. Duet, "To my guitar," Miss E. Birch and Miss Dolby - Laura Barker. National Airs, Miss Dolby. Glee, "Lochinvar," Miss E. Birch, Mr. Swift, and M. Stockhausen - Dr. Clarke. It is now too late in the day to eulogise Miss Dolby's talents. What every one knows requires no insisting upon. Miss Dolby stands at the head of the English school of female singers, and has maintained her position for some years. On Tuesday evening she was in delightful voice, and charmed her auditors in almost every instance. Cherubini's aria, and Macfarren's two delightful songs, were given in the singer's most captivating manner. Sterndale Bennett played a marveille, and all the other artists acquitted themselves more than creditably. Mr. Lindsay Sloper accompanied the vocal music. (The Musical world, Saturday, 14 December 1850) Wednesday, 18 December 1850 : Second Classical Concert at Lecture Hall, Greenwich. CLASSICAL CONCERTS LECTURE HALL. On Thursday last, the of series of classical concerts was given in this hall, under the superintendence of Mr. The first part consisted of a Quartette of Haydn's, in D. this exquisite composition of the great master, teeming with melody, and each movement vieing with the other in new beauties, formed delicious bouquet. The slow movement was both chaste and elegant, and inimitably was it rendered by Mr. Dando, and his able supporters. The more we hoar Dando, the more are impressed with his intrinsic value. That is not placed at the very head of his of his profession to ns inexplicable; we can account for it but in one way; that is too legitimate in his style of playing, and too great an artist to condescend to the trickery of the day. Dando's performance of quartette music, proves him one of the first living masters of the violin, and which his friends at Crosby hall can well attest there is rich and unctious quality this player, command of bow and beauty of tone, united with the most consummate knowledge of the various compositions the great masters, which he faithfully render?. does, indeed, sing most divinely the violin and his adagio playing can never excelled in depth of feeling and purity of conception. The vocalists were Mr. and Mrs. Sims Reeves, and Miss Poole-the great tenor were sorry to perceive, still laboured under severe indisposition, he sang nevertheless with his usual taste and deep feeling, and gave to his various songs, the effect which Sims Reeves alone knows how to produce. Mrs Sims Reeves was in excellent voice. This charming artiste has a brilliancy and finish of stylo perfect intonation-and her not*., flexible and graceful, were brought forth with a clearness and precision which left no room (or doubt to her power of executing the most the most rapid with the most elaborate skill, devoid of ail effort, Miss Poole sang charmingly. Caprice brilliant on airs of Schubert, for pianoforte, Heller, was played by Lindsay Sloper; the composition tame, and the whole rather ineffective. The second part consisted of a quartette, by Onslow, the subject of the Adagio, the National air, God save the Queen, variazione," and was exquisitely per formed. Mrs. Sims Reeves sung the lovely Scotch ballad, "There is luck about the house, with bewitching effect, and was deservedly encored. The quartette, Raoul Courcy,'' was delicious morceaux, splendidly performed Messrs. Dando,, Sloper, and Thomas, the vocal part admirably sustained by Mrs. Sims Reeves. The brilliant success of the first concert, would appear to have inspired the committee with increased energy: however excellent was the first the second far surpassed it, and every praise due the spirited managers of these concerts, for their indefatigable efforts to improve the general taste for good music. They have our hearty good wishes, and trust their exertions will crowned with success. The decorations The decorations of the platform displayed great taste, the evergreens were particularly refreshing to the eye, and the effect good. The hall was filled overflowing. (Kentish Mercury, Saturday, 21 December 1850) |
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