Edmund Hugh Lindsay Sloper

? Edmund Hugh Lindsay Sloper - Main

Edmund Hugh Lindsay Sloper - Unforgotten

Lindsay Sloper
	Life Musical Works Concert Diary 1854

Concert Advertisements and Reviews - 1854.

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Monday, 9 January 1854 : Full Dress Concert (Evening) at Music Hall, Leeds.

- The third full dress concert of this season took place in the Music Hall on Monday night, and was brilliantly and numerously attended. The Committee, with the laudable idea that au English concert would be not only a novelty, but at the same time an agreeable change, made a selection from some of the works of our most popular composers. The overture to Farinelli by John Barnett was well played by the orchestra, and its light and graceful character mixed with the dash of martial spirit was fully appreciated. Purcell's fine song Ye twice ten hundred deities,' -perhaps too sombre and heavy in its character for the audience, - was finely rendered by Mr. Henry Phillips, and the accompaniment was given by the band in a most effective manner. Lindsey Sloper's fantasia for voice and piano forte, executed by Miss Dolby and Mr. Hatton, is a composition possessing much merit. Of Miss Dolby's part of the performance of it we need not speak, because she always does justice to her parts, and never do we remember having heard this lady undertake any duty which she did not perform in the best manner. Mr. Hatton's brilliant accompaniment was all that could have been wished. His touch, so brilliant and yet so chaste, is all that the most fastidious critic could desire. As an accompanyist he is perhaps unrivalled. Mr. Frederick Chatterton's fantasia on Welsh Bardic Melodies was executed with all the judgment and taste for which this gentleman is so justly celebrated, and as the harp is (Leeds Times, Saturday, 14 January 1854)

Tuesday, 14 February 1854 : Mr. Lindsay Sloper's First Chamber Concert (Evening) at 27, Queen Anne-Street, Cavendish-Square.

[1853] 10th Feb. Don Cesar de Bazan, and Used Up, performed at Cabinet Theatre, by Members of the Club. Lindsay Sloper commenced his ?fth series of Classical Soirées, at New Beethoven Rooms. (Dramatic register for 1853, Saturday, 31 December 1853)

MR. LINDSAY SLOPER begs to announce that he will give TWO CHAMBER CONCERTS, at 27, Queen-Anne-street, Cavendish-square, on Thursday Evenings, Feb. 14th, and March 7th. On the first evening Mr. Lindsay Sloper will be assisted by Miss Dolby, Signor and Madame Ferrari, Herr Molique, and Mr. Lazarus. Single Subscription, Fifteen Shillings; Triple Subscription, Two Guineas; Single admission to One Concert, Half-a-Guinea. Tickets may be had of Messrs. Cramer and Co, 201, Regent-street; Messrs. Chappell and Co., 50, New Bond-street; and of Mr. Lindsay Sloper, 7, Southwick -place, Hyde Park-square. (The Musical world, Saturday, 4 February 1854) (Also: The Musical world, Saturday, 11 February 1854; The Musical World, Saturday, 18 February 1854.)

MR. LINDSAY SLOPER begs to announce that he will give TWO CHAMBER CONCERTS, at 27, Queen Anne-street, Cavendish-square, on Tuesday evenings, February 14 and March 7. On the first evening Mr. Lindsay Sloper will be assisted by Miss Dolby, Signor and Madame Ferrari, Herr Molique, and Mr. Lazarus. Single subscription, fifteen shillings; triple subscription, two guineas: single admission to one concert, half-a-guinea. Tickets may be had of Messrs. Cramer and Co., 201, Regent-street; Messrs, Chappell and Co., 50, New Bond-street; and of Mr. Lindsay Sloper, 7, Southwick-place, Hyde-park-square. (The Athenaeum, Saturday, 4 February 1854) (Also: Morning Chronicle (1801), Wednesday, 8 February 1854; Daily News, Wednesday, 8 February 1854; The Athenaeum, Saturday, 4 February 1854; The Athenaeum, Saturday, 11 February 1854; Morning Post, Wednesday, 8 February 1854.)

Among other "signs of the season" are coming chamber concerts by Mr. Lindsay Sloper, Herr Pauer, and Mr. C. Salaman. The first-named pianist's first soirée is fixed for Tuesday next. (The Athenaeum, Saturday, 11 February 1854)

MUSICAL ARRANGEMENTS FOR THE ENSUING WEEK. This Day.- Mr. Aguilar's Third and last Soirée, 68, Upper Norton Street. Eight o'clock. Monday.-Harmonic Union, Exeter Hall-Acis and Galatea. Half past Seven. Tuesday.-Lindsay Sloper's First Chamber Concert, 27, Queen Anne-street, Cavendish-square. Eight o'clock. Wednesday.-London Wednesday Concerts, Exeter Hall. Half-past Seven. Friday.-Sacred Harmonic Society, Exeter Hall-Elijah. Half-past Seven. Saturday.-C. Salaman's First Pianoforte Soirée, 86, Baker-street. Half-past Eight. (The Musical world, Saturday, 11 February 1854)

MR. LINDSAY SLOPER begs to announce that he will give TWO CHAMBER CONCERTS, at 27, Queen Anne-street, Cavendish-square, on Tuesday Evenings, Feb. 14, and March 7. Single subscription, 15s.; triple subscription, two guineas; single admission to one concert, half-a-guinea. Tickets may be of Messrs. Cramer & Co., 201, Regent-street; Messrs. Chappell & Co., 50, New Bond-street; and of Mr. Lindsay Sloper, 7, Southwick-place, Hyde-park-square. (Musical Times, Wednesday, 15 February 1854)

MR. LINDSAY SLOPER'S CONCERTS. Mr. Lindsay Sloper is not, like many of his "great" pianistic contemporaries, a musical juggler. He does not throw his notes like red-hot balls from hand to hand, merely to astonish the audience, nor employ his fingers in a manner which offers more anatomical than artistic interest. Very superior to those who do such things, or who make of their piano a circus-horse, tortured into the execution of "wonderful feats" contrary to its nature, he is a conscientious, thoughtful, and most accomplished player, who seeks to please only by legitimate means ; and the soundness of his principles, no less than the practical skill with which he can apply them, received a new and most striking exemplification on this occasion, when he performed several pieces by the great masters of various schools with a rare amount of scholarly taste and finish. We subjoin a programme of the concert :- Part I. Duo Concertant, in G minor (Op. 95), for Pianoforte and Violin, Mr. Lindsay Sloper and Herr Molique - Spohr. Allegro moderate. Adagio. Scherzo. Vivace. Allegretto. Song, "Ave Maria," with Clarionet obligato, Madame Ferrari and Mr. Lazarus - Cherubini. Fantasia for Voice and Pianoforte, "The lady and the Nightingale," Miss Dolby and Mr. Lindsay Sloper- poetry by Henry F. Chorley, music by Lindsay Sloper. Song, "I love all things the seasons bring," Mr. Benson, for whom it was composed by J. L. Hatton. Sonata, in D minor (Op. 29, No. 2), Pianoforte, Mr. Lindsay Sloper - Beethoven. Allegro. Adagio. Allegretto. Part II. Sonata, in E flat major (Op. 47), for Pianoforte and Clarionet, Mr. Lindsay Sloper and Mr. Lazarus Allegro con Fuoco. Andante con Moto. Rondo. Allegro - Weber. Song, " Si, tra i ceppi," Signor Ferrari (Berenice) - Handel. Two Melodies for Violin and Pianoforte, Herr Molique and Mr. Lindsay Sloper, Andante in G major, from Op. 41, book 1. Allegro moderator in A minor, from Op. 36 - Molique.. Reverie, " Day and Night," Miss Dolby - J. L Hatton. Selection from Pianoforte Works, Mr. Lindsay Sloper, A river scene - Romanza - Bolero.- May Lilies - Capriccio - Lindsay Sloper. Spohr's duet in G minor is one of his feeblest compositions. The thoughts are, for the most part, trivial, and there is a sickly sweetness about it - a mawkish insipidity, which lulls the listener into a state of drowsy indifference. We care not whether it goes on or stops. Mere fluency of expression, or technical facility, can never stir the passions ; and so nobody cared much about the ingeniously concatenated passages, carefully rounded periods, or minutely elaborated harmonies of this duet; although it could scarcely be done greater justice to than it was by Messrs. Sloper and Molique. Cherubini' s chaste and largely-phrased "Ave Maria," with its simple melody and firm diatonic harmonies, came upon us very freshly after Spohr's chromatic and frivolous duet. It was, moreover, extremely well sung by Madame Ferrari, and most skilfully accompanied by Mr. Lazarus. Mr. Sloper's new fantasia, " The lady and the nighting-gale [sic]," contains much which may be highly eulogised, although the form is very singular. It is not a duet betwixt a lady and a nightingale, as the title might lead many to imagine; but rather a trio for a lady, a piano, and a nightingale - the last being represented by the first, whilst the piano plays a subordinate part to both. Mr. Sloper is certainly not responsible for the oddity of the poem ; and no composer, perhaps, could have grappled with the peculiar difficulties it presents more successfully than he has done. Few, indeed, would, we think, have been bold enough to attempt a musical illustration of so heterogeneous a mass of ideas. In the opening recitative we find a lady "sitting before her virginals, trying a note here and there, whilst soft night-breezes rise, with sound like elfin-waterfalls, waring the ivy on the walls." Here is already a good deal for a composer to express all at once ; and the difficulty of the task becomes still more obvious when we reflect that he must first understand these ideas. A note " Here, and there," or everywhere upon the virginals might easily be touched, or legitimately "tried" even without a jury, but to convey at the same time an adequate notion of the rising of soft night-breezes which sound like elfin-waterfalls, &c, assuredly demands talent of a very uncommon order. What is an elfin-waterfall ? After much more of this sort of thing, "Fond Philomel" (a great resource for maudlin poets) is introduced, and sings us a " plaint that might have words like these" (that is, if she were to ask for them, which no judicious Philomel, however "fond," would be at all likely to do). The nightingale, it appears, might have said (according to the poet), "There is no moon - gloom lies over the plain," &c, though "She could behold nothing for the tears in her eyes." Fond Philomel would have proved herself to be a most silly, or lying bird, had she used such words- a blot, in fact, upon ornithological intelligence or morality; for how, being blind, could she tell whether a moon was or was not visible ? When the lady leaves off touching her virginals "Here and there," the nightingale also ceases her plaint ; which after all was, perhaps, only occasioned by that very tantalising noise made by the lady. Fond Philomel merely wished to put an end to it, and having done so, she relapses into silence. Anon, however, the expected lover arrives, after duly "ringing his lute clear and shrill" in the distance. To people of gross sense this might seem to describe the crowing of a vigorous cock, rather than the dulcet tones of a lute, "by distance made more sweet ;" but the true poet's ear has a delicate appreciation of the significance of sound. Let us proceed. He arrives and all is ecstasy and "transcendent bliss." The moon (grandly addressed, "Oh, moon!") is imperiously commanded to "go round in a measure of triumph ;" all the stars are to shine at once; and the "royal red roses" must perform a grand hymeneal chorus, substituting odour for sound. In fact, a tremendous scene is supposed to take place. The man is whirling about like a Catherine-wheel - the pale clouds are flying in every direction, whilst the flowers sing a concerted piece - everything is topsy-turvy- and the poet seems fairly to take leave of his senses, overwhelmed by the "fine phrenzy" of his dreams. Excepting the wonderful old ballad - "Heigh, diddle-diddle, The cat's in the fiddle ; The cow jumped over the moon ; The little dog laughed to see such sport, And the dish ran after the spoon - " we know of nothing at all comparable to the concluding portion of this " Fantasia." But we need not dwell longer upon the extraordinary farrago. To speak of Mr. Sloper's treatment of it is a more pleasing task, for he has really done wonders with his unhappy literary materials. As long as he has to deal with the lady's virginals, the rising breezes, and falling elfin-waters (which produce exactly similar sounds), to make ivy wave upon walls, whilst notes are tried " here and there," he is not remarkably entertaining; but the nightingale's "plaint" he has wedded to very graceful, appropriately pathetic, and scholar-like music. To the last portion of the fantasia, too, he has written a very animated and clever allegro movement, which almost makes us forget the imbecility of the words. The whole was sung by Miss Dolby with uncommon care and earnestness. She fought her author's battle manfully ; and her really fine performance, combined with the sterling merits of Mr. Sloper's score, will doubtless gain for the "Lady and the nightingale " a favourable reception at many of our approaching concerts. Mr. Benson's version of Hatton' s, "I love all things," elicited marks of approval, and Beethoven's sonata in D minor served to display the executive powers of Mr. Sloper to great advantage. The first movement was given with becoming impetuosity and justness of emphasis. Its incidental snatches of recitative were delivered with touching eloquence, and an almost vocal quality of tone, whilst the abrupt changes of sentiment so frequently called forth, were expressed with a truthfulness which evidenced a thorough comprehension of their profound meaning. But even better than this effort was Mr. Sloper's execution of the lovely soul-stirring andante, and best of all his perfectly irreproachable rendering of the concluding allegretto. Weber's admirable sonata, and Molique' s delightful "melodies," were done ample justice to by their respective performers ; and the elegant little pieces with which the concert concluded were most creditable to the distinguished ability of Mr. Sloper, both as pianist and composer. The rooms were crowded. (Morning Post, Thursday, 16 February 1854)

Mr. Lindsay Sloper gave his first Chamber Concert of the season on Tuesday evening at the new Beethoven Rooms in Queen Anne-street. It was, as his concerts always are, a brilliant and successful entertainment, the rooms being crowded with fashionable company. The performance consisted of sonatas and other pieces for the pianoforte, of the highest and most classical character, performed by Mr. Sloper in that finished and masterly style for which he is distinguished. One of them (by Spohr) was accompanied on the violin by Herr Molique; the other (by Weber) on the clarinet by Mr. Lazarus. Several fine vocal pieces were performed by Miss Dolby, Madam Ferrari, and Mr. Benson. (John Bull, Saturday, 18 February 1854) (Also: John Bull, Saturday, 18 February 1854.)

Mr. Lindsay Sloper gave his first chamber concert of this season, on Tuesday evening, at the Queen Anne-street Rooms It was an entertainment worthy of this this accomplished professor, and was attended by a crowd of fashionable company. The instrumental music consisted of Spohr's Concertante Duet in G minor, for the piano and violin, played by Mr. Sloper and Herr Molique; Beethovens famous Sonata in minor, from Opera 29, performed by Mr. Sloper alone; Weber's Sonata in flat, for the piano and clarinet, in which Mr. Sloper was accompanied by Mr. Lazarus; and lastly, Mr. Sloper played three charming little pianoforte pieces composed by himself. Several beautiful songs were sung by Miss Dolby, Madame Ferrari, and Mr. Benson. (Illustrated London News, Saturday, 18 February 1854)

Mr. Lindsay Sloper's first Soirée was held on Tuesday evening. The most unfamiliar foreign work in his programme was the Sonata in G minor, for pianoforte and violin, by Spohr. It may be suspected, that the pianoforte music of this composer, clever though it be, will always remain unfamiliar to the English amateur. (The Athenaeum, Saturday, 18 February 1854)

MR. LINDSAY SLOPER'S SOIREES. Mr. Lindsay Sloper follows in the same track as Mr. Sterndale Bennett, and considers music an intellectual, not a frivolous recreation. His Annual Chamber Concerts are, therefore, always anticipated with interest by amateurs. The first for the present season took place on Tuesday evening, at the New Beethoven Booms, in presence of a very full audience. The programme was excellent. Part I. opened with Spohr's Duo concertante in G (Op. 95), for pianoforte and violin, and finished with Beethoven's solo sonata in D minor (No. 2, Op. 29). The first, one of Spohr's best works of the kind, was brilliantly executed by Mr. Sloper and Herr Molique. The profound work of Beethoven was played con amore by the pianist. Part II. began with Weber's sonata in E flat (Op. 47), for pianoforte and clarionet, which, though not one of the capital efforts of the master, possessed quite sufficient interest to warrant Mr. Sloper in introducing it. Moreover, there is so little good music for the clarionet ; and, besides, it is such a pleasure to hear the mellow tone and fluent execution of Mr. Lazarus in a piece of the length and importance of a sonata. The pianoforte part is difficult; but Mr. Sloper does not recognise difficulties. It was a fine performance on both hands. Mr. Sloper, at the end of the concert, introduced three graceful morceaux de salon of his own - a romance called A River Scene, a Bolero, and a caprice entitled May Lilies. These were charming and charmingly played; but we trust Mr. Sloper, who has always made a rigid stand for the healthy influence of music, is not about to fall into the "flower and water" style now so predominant. May Lilies is a somewhat ominous title. Besides the duo of Spohr, Herr Molique played two of his beautiful Melodies - the Andante in G (Op. 41}, and the Allegro moderato in A minor (Op. 36). How he played them, those who are acquainted with the refined and consummate talent of the Stuttgart violinist need not be reminded. The vocal music was contributed by Sig. and Mad. Ferrari, Mr. Benson, and Miss Dolby. Mr. Benson sings Hatton's ballad, "I love all Things the Seasons bring," extremely well, and the ballad itself is a good one; but we think it is time he should fix upon another, for chamber concerts. Mad. Ferrari, in Cherubini's "Ave Maria," accompanied by Mr. Lazarus in the clarionet obbligato, showed herself a true artist; and Sig. Ferrari, in the aria, "Si, tra i ceppi," from Handel's Berenice, displayed his usual intelligence. The fantasia of Mr. Sloper, for voice and pianoforte, called " The Lady and the Nightingale," has been already described. The idea is excellent, although, as the Daily News says, it is simply a cantata with an elaborate pianoforte accompaniment. Miss Dolby sang it superbly, Mr. Sloper, of course, playing the pianoforte part, as he did in all the pieces, vocal and instrumental, where an accompaniment was required - a proceeding which we consider unadvisable, inasmuch as the fatigue arising from constant exertion must in a degree militate against the vigour and consequent effect of the solo performances. (The Musical world, Saturday, 18 February 1854)

Mr. Lindsay Sloper had his first Chamber Concert on Tuesday evening, - an elegant entertainment, fashionably attended. Mr. Sloper is one of our most accomplished pianists; and he showed himself to be so by his finished execution of Spohr's concertante duet for the piano and violin, (accompanied by Molique,) and of Beethoven's sonata in D minor from Op. 29, esteemed one of the masterpieces of the composer. These were the great performances of the evening. There was also some excellent singing by Madame Ferrari, Miss Dolby, and Mr. Benson. (Musical Times, Wednesday, 1 March 1854)

Thursday, 23 February 1854 : Milliners' and Dressmakers' Provident and Benevolent Institution's Fourth Annual Entertainment (Evening) at Hanover-Square Rooms.

MILLINERS' and DRESSMAKERS' PROVIDENT and BENEVOLENT INSTITUTION, 82, Sackville-street. The Directors have great satisfaction in announcing that their FOURTH ANNUAL ENTERTAINMENT to the Members and Friends of the above Institution, under the especial patronage of Her Grace the DUCHESS of SUTHERLAND Her Grace the DUCHESS of ARGYLL, Her Grace the DUCHESS of MONTROSE The Most Noble the MARCHIONESS of KILDARE The Most Noble the MARCHIONESS of STAFFORD The Most Noble the MARCHIONESS of CAMDEN The Right Hon. the Lady CONSTANCE GROSVENOR, The Right Hon. the COUNTESS of SHAFTESBURY The Right Hon. the VISCOUNTESS CANNING, The Right Hon. the VISCOUNTESS SEAHAM The Right Hon. the VISCOUNTESS MANDEVILLE, &c, &c., &c., Will be given at the Hanover-square Rooms, on THURSDAY EVENING, Feb. 23, 1854. To commence at 7 o'clock precisely. On which occasion the following distinguished Artistes have kindly consented to appear :- Miss Birch, Miss Dianelli, Miss Dolby, and Madame F. Lablache ; Mr. Sims Reeves, Mr. Augustus Braham, Signor F. Lablache, and Signor Belletti. Instrumental Performers- Pianoforte, Madlle. Coulon ; Violin, M. de Valadares (the celebrated East Indian violinist) ; Flute, Mr. Richardson, the celebrated Hungarian Band, under the direction of Herr Kalozdy. Conductor, Mr. Lindsay Sloper. Further particulars will be duly announced. Reserved Seats, 7s. each, may be secured on early application to Mrs. Watkins, 15, Edwards-street, Portman-square ; Miss Sewers, 8, Hanover-square; Miss Griffiths, 1, New Burlington-street; Miss Ollivier. 19, Dover-street ; Miss Straker, 17, Sackville-street, Miss Descou, 11, Bruton-street; Mr. Robert Ollivier, 19, Old Bond-street; and WILLIAM SHUTER, 32, Sackville-street, Hon. Sec. (Morning Post, Friday, 3 February 1854) (Also: Morning Post, Thursday, 23 February 1854; Morning Chronicle (1801), Wednesday, 22 February 1854; Morning Post, Monday, 20 February 1854; Morning Post, Tuesday, 7 February 1854; Morning Chronicle (1801), Friday, 17 February 1854.)

Monday, 27 February 1854 : Mr. Dando's Fourth Quartet Concert at Crosby Hall.

Quartet Concerts, Crosby Hall.- The selection for the fourth concert, on Monday, was from Beethoven alone. The instrumental pieces were the trio in D for stringed instruments, the quintet in B flat for pianoforte and wind instruments, the grand septuor in E flat, and the quartet in C minor (No. 4, Op. 18). Mr. Lindsay Sloper was the pianist, and Miss Dolby the vocalist. In the quintet, Mr. Sloper's clear and delicate touch was specially effective. The execution of the first four movements of the septuor was perfectly satisfactory; the last two movements might have been better. The last quartet was played very finely. The " Song of the Quail " was charmingly sung by Miss Dolby. The fifth concert is announced to take place on the 13th inst. (The Musical world, Saturday, 4 March 1854)

Tuesday, 7 March 1854 : Mr. Lindsay Sloper's Second and Last Chamber Concert at 27, Queen Anne-Street, Cavendish-Square.

MR. LINDSAY SLOPER begs to announce that his Second and last Chamber Concert, will take place at 27, Queen Anne-street, Cavendish-square, on Tuesday Evening, March 7th, to commence at Half-past Eight o'clock, Single Tickets, Half-a-Guinea each, and a limited number of Family Tickets, to admit three, One Guinea each, may be had of Messrs. Cramer and Co., 201, Regent-street; of Messrs. Chappell and Co., 50, New Bond-street; and of Mr. Lindsay Sloper, 7, Southwick-place, Hyde Park-square. (Musical Times, Wednesday, 1 March 1854)

MR. LINDSAY SLOPER begs to announce that his SECOND and LAST CHAMBER CONCERT will take place at No. 27, Queen Anne-street, Cavendish-square, on Tuesday Evening, the 7th inst, on which occasion he will be assisted by Miss Amy Dolby and Signor Belletti, Messrs. Sainton, Dando, and Lucas.-Single tickets, half-a-guinea each, and family tickets (to admit three), one guinea each, may be had of Messrs. Cramer and Co., 201, Regent-street; Chappell, 50, New Bond-street; and of Mr. Lindsay Sloper, 7, Southwick-place, Hyde park-square. (Morning Post, Saturday, 4 March 1854) (Also: Morning Chronicle (1801), Saturday, 4 March 1854; The Athenaeum, Saturday, 4 March 1854.)

MR. LINDSAY SLOPER begs to announce that his SECOND and LAST CHAMBER CONCERT will take place at No. 27, Queen Anne-street, Cavendish-square, TOMORROW EVENING, the 7th inst, on which occasion he will be assisted by Miss Amy Dolby and Signor Belletti, Messrs. Sainton, Dando, and Lucas.-Single tickets, half-a-guinea each, and family tickets (to admit three), one guinea each, may be had of Messrs. Cramer and Co., 201, Regent-street; Chappell, 50, New Bond-street; and of Mr. Lindsay Sloper, 7, Southwick-place, Hyde park-square. (The Literary gazette : A weekly journal of literature, science, and the fine arts, Saturday, 4 March 1854) (Also: Daily News, Monday, 6 March 1854.)

MUSICAL ARRANGEMENTS FOR THE ENSUING WEEK. This day.- C. Salaman's Second Pianoforte Soirée, 36, Baker-street. Half-past Eight. Tuesday.- Mr. L. Sloper's Second Chamber Concert, 27, Queen Anne-street, Cavendish-square. Eight o'clock. Mr. S. Cowell's Concert, St. Martin's Hall. Eight o'clock. Wednesday.- Herr E. Pauer's First Soirées Musicale, Willis's Rooms, King-street, St. James's. Eight o'clock. Thursday.- Harmonic Union, Exeter Hall-Handel's Judas Maccabaeus. Half-past Seven. Friday.- Sacred Harmonic Society, Exeter Hall- Haydn's Creation. Halt-past Seven. (The Musical world, Saturday, 4 March 1854)

MR. LINDSAY SLOPER begs to announce that his SECOND and LAST CHAMBER CONCERT will take place at 27, Queen Anne-street, Cavendish-square, on Tuesday Evening, the 7th inst., on which occasion he will be assisted by Miss Amy Dolby and Signor Belletti, Messrs. Sainton, Dando, and Lucas. Single tickets, Half-a-Guinea each, and Family Tickets (to admit three), One Guinea each, may be had of Messrs. Cramer and Co., 201, Regent-street; Chappell, 50, New Bond-street, and of Mr. Lindsay Sloper, 7, Southwick-place, Hyde-park. (The Musical world, Saturday, 4 March 1854)

To pass to Chamber Concerts - at Mr. Lindsay Sloper's second and last Soirée, the novelty claiming mention was his elegant and sterling song "Seek not to know,' which, though unpretending in form, is superior to nineteen-twentieths of similar compositions. (The Athenaeum, Saturday, 11 March 1854)

The subscription and benefit concerts of the season are beginning to multiply rapidly, but our notices must be confined to any events of novelty or special interest. At Mr. Lindsay Sloper's chamber concert, in the New Beethoven Rooms, on Tuesday evening, he introduced an effective and brilliant composition of his own, a Pastorale and Valse Capricieuse, and an air, not of much melody, composed for words sung by Miss Amy Dolby, a young singer whose progress lately has been very marked. MM. Sainton, Dando, Lucas, and Signor Belletti, were Mr. Sloper's other coadjutors. (The Literary gazette : A weekly journal of literature, science, and the fine arts, Saturday, 11 March 1854)

MR. LINDSAY SLOPER'S SOIREES. The second and last of these classical entertainments took place on Tuesday evening at the New Beethoven Rooms. The programme was good, and the audience numerous and attentive. Mr. Sloper was in splendid "play," as the term goes, and thoroughly satisfied his most critical hearers. His coadjutors were Messrs. Sainton (violin), Dando (viola), and Lucas (violoncello). The performances began with Mozart's pianoforte quartet in E flat (Op. 13), one of the early works of the master. It was admirably executed by Mr. Sloper and the three gentlemen already named. The other concerted piece was Beethoven's fine and occasionally eccentric sonata for piano and violin in G (Op. 90), the performance of which, by Mr. Sloper and M. Sainton, was beyond reproach. Mr. Sloper's solo performances were highly interesting. Two numbers from Mendelssohn's glorious book of Six Preludes and Fugues * (Op. 35) - a work as transcendent as it is little known - deserve particular mention. The lovely prelude in A flat, with its fugue if possible still lovelier, was followed by the prelude and fugue in F minor. The prelude, which is as passionate as anything in music, was, nevertheless, less thoroughly understood than the fiery and ungovernable fugue, in which the whole genius of Mendelssohn is revealed. The last, was superbly played by Mr. Sloper, who neither flinched from the allegro nor from the con fuoco. Better execution of an intricate and very difficult fugue we have seldom heard. The same composer's Andante and Presto Agitato in B minor, which (more shame to our pianists) is almost unknown, was equally well rendered by Mr. Sloper, who is quite at home in this music, which demands especial clearness and decision of execution. Two elegant bagatelles, entitled Day Spring and Valse Capricieuse, the compositions of Mr. Sloper, played to perfection, as might have been expected, terminated the concert with good effect. The first is a novelty of which the title alone is unintelligible to us; the second is an old and deserved favourite. The concert was agreeably varied by the Romance and Tarantella of M. Sainton, executed with wonderful spirit by the composer, who had already performed them on the same evening at the "Festival" of the Royal Society of Musicians. The vocal music was good. A pleasing and well written song by Mr. Sloper, entitled " Seek not to know if all must fade" (the words by Mr. Palgrave Simpson) was very nicely sung by Miss Amy Dolby, who is evidently making progress. In Haydn's canzonet, " My Mother bids me bind my Hair," sung by the same young lady, the signs of improvement were still more evident. The other vocal music was entrusted to Signor Belletti, who (also, like M. Sainton, fresh from the "festival" of the Royal Society of Musicians) was encored in a somewhat stale bolero, " Quand' olezzante brezza," composed by one Bergson, and was not encored in an eternally fresh and spirited aria, entitled "Non piu andrai," from an opera called Le Nozze di Figaro, by a composer named Mozart, which Signor Belletti (who is an Italian) sang much less con amore than the somewhat stale bolero. Mr. Lindsay Sloper did the singers the honour of accompanying them upon the pianoforte. * Published by Addison and Hollier. (The Musical world, Saturday, 11 March 1854)

Mr. Lindsay Sloper gave his second and last Soirée, on the 7th, at the New Beethoven Rooms, assisted by Sainton (violin), Dando (viola), and Lucas (violoncello.) The programme included Mozart's pianoforte quartet in E flat (op. 13); Beethoven's Sonata for piano and violin in G (op. 96); two Preludes and Fugues by Mendelssohn (op. 38), piano solo, "superbly played" by Mr. Sloper; an Andante and Presto of Mendelssohn, and a couple of original bagatelles, by the same player; an original violin Romance and Tarantella, by Sainton; and songs by Miss Amy Dolby and by Sig Belletti. (Dwight's journal of music, Saturday, 8 April 1854) (Also: Dwight's journal of music, Saturday, 8 April 1854.)

Monday, 27 March 1854 : Amateur Musical Society's Second Concert (Evening) at Hanover-Square Rooms.

AMATEUR MUSICAL SOCIETY. The second concert of the eighth season toot piano on Monday evening, when the Hanover Square Rooms were crowded by a brilliant audience. The concert began with a very spirited, and on the whole extremely clear performance of Mozart's Symphony in D, the one without a minuet, and the grandest of the three which the great composer wrote in that key. In such works as these the amateurs are quite at home, and have little to learn from the musicians. The symphony was followed by Beethoven's " Adelaida," played by Mr. A. A Pollock on the oboe, in a style that would have done credit to the most accomplished performer of that difficult instrument. His expression was chaste, without being deficient in the warmth of sentiment that naturally suggests itself in that beautiful love-song. Mr. Pollock was encored in his performance, and most deservedly. The first part finished with the dashing overture to Auber's Cheval de Bronze, another piece in which the "gentlemen" are almost a match for the "players." The second part began with a remarkably clever composition by Mr. St. Vincent Jervis, a pupil of Herr Molique, and one of the best informed musicians in the ranks of the Amateur Musical Society. This was an adagio and rondo for pianoforte and orchestra. In the adagio there are some graceful thoughts ; but, on the whole, we prefer the rondo, which is extremely spirited, and, moreover, effectively written for the pianoforte. The instrumentation of both movements does credit to Mr. St. Vincent Jervis, and shows that he has studied the orchestra with attention and with profit. Though it is to be presumed from the style of his writing that the composer must himself be a good pianist, Mr. Jervis did not come forward as the executant, but found an admirable substitute in Mr. Lindsay Sloper, who played the Adagio and Rondo to perfection. As one good turn deserves another, Mr. Lindsay Sloper should compose a piece for Mr. St. Vincent Jervis to play. It is hardly fair that one who writes with such apparent ease for the pianoforte should not be induced to appear as his own interpreter. The " Selection" on this occasion was that from Guillaume Tell, one of the ablest and most clearly put together we have heard. The arrangement and instrumentation of this pot-pourri are, we understand, the work of Lord Gerald Fitzgerald. They do infinite credit to that distinguished amateur's knowledge of the orchestra and calculation of effect. The selection was well played, the solos being in the competent hands of Mr. Jekyll (flute), Mr. Tatham (cornet-a-pistons), and Mr. Phasey (sax-tuba.) The famous duet, "Dove vai," was well suited to the two last named instruments. The difficult overture of Mendelssohn - Die Hebriden, or Fingal's Cave, or Fingal's Hohle, or the Isles of Fingal, as it is variously designated - was an adventurous task for the amateur orchestra. At the beginning, there was a good deal of unsteadiness, and the passages for stringed instruments seemed to puzzle the dilettanti not a little. But, strange to say, the coda, the most difficult part of the overture, and in which the tempo is accelerated, was played, all things considered, with remarkable decision and even with brilliancy, and fairly made up for the rest. The concert terminated with the march from Robert Bruce - a part of the finale to La Donna del Lago, in which the soldiers and the bards unite their voices in combination, each singing a different theme. Altogether the entertainment was a good one, and the audience seemed highly pleased. Mr. G. A. Osborne conducted the whole performance with his usual ability. (The Musical world, Saturday, 1 April 1854)

Thursday, 20 April 1854 : Mr. R. W. Wyllie's Grand Vocal and Instrumental Concert at Royal Public Rooms, Exeter.

R. W. WYLLIE has the honour to announce that he has made arrangements to give a GRAND Vocal and Instrumental Concert, on the 20th April, at the Royal Public Rooms, for which the following eminent Artists have been engaged, at an immense expense: - MISS MESSENT, MR. SIMS REEVES, Mr. FRANK BODDA, Solo Violin-HERR MOLIQUE. Pianoforte -LINDSAY SLOPER. Numbered Stalls, 5s; Unreserved Seats, 3s; Promenade 1s 6d, may be had at WYLLIE'S Musical Library, Cathedral-yard, Exeter. (Western Times, Saturday, 18 March 1854) (Also: Western Times, Saturday, 15 April 1854; Trewman's Exeter Flying Post, Thursday, 20 April 1854; Exeter Flying Post, Thursday, 20 April 1854; Western Times, Saturday, 1 April 1854; Trewman's Exeter Flying Post, Thursday, 23 March 1854; Western Times, Saturday, 25 March 1854; Trewman's Exeter Flying Post, Thursday, 6 April 1854.)

R. W. WYLLIE has the honour to announce that he has made arrangements to give a GRAND Vocal and Instrumental Concert, on the 20th April, at the Royal Public Rooms, for which the following eminent Artists have been engaged, at an immense expense: - VOCALISTS: MISS MESSENT, MR. SIMS REEVES, Mr. FRANK BODDA, INSTRUMENTALISTS: Solo Violin-HERR MOLIQUE. Pianoforte -LINDSAY SLOPER. Numbered Stalls, 5s; Unreserved Seats, 3s; Promenade 1s 6d. Tickets may be had at WYLLIE'S Musical Library, Cathedral-yard, Exeter. (Exeter Flying Post, Thursday, 23 March 1854) (Also: Exeter Flying Post, Thursday, 6 April 1854.)

MR. WYLLIE'S CONCERT.-This concert took place on Thursday, at the Royal Public Rooms. There was a numerous and fashionable attendance though not so full as might have been anticipated from the celebrity of the performers and the excellence of the programme. Of Mr. Sims Reeves it is only necessary to say that he was as brilliant as ever. His fine voice and admirable style were generally admired. Miss Messent sang charmingly and was much and deservedly applauded; and Mr. Frank Bodda was also a very successful contributor to the harmony of the occasion. The clever performance of Mr. Lindsay Sloper on the piano-forte, and of Herr Molique in a violin solo, afforded great gratification to the audience. The arrangements generally were satisfactory, and Mr. Wyllie showed himself an excellent caterer for the musical public. (Trewman's Exeter Flying Post, Thursday, 27 April 1854)

MR. WYLLIE'S CONCERT.-This concert took place on Thursday, at the Royal Public Rooms. There was a numerous and fashionable attendance though not c so full as might have been anticipated from the celebrity of the performers and the excellence of the programme, of Mr. Sims Reeves it is only necessary to say that he was as brilliant as ever. His fine voice and admirable style ware generally admired. Miss Messent sang charmingly and was much and deservedly applauded; and Mr. Frank Bodda was also a very successful contributor to the harmony of the occasion. The clever performance of Mr. Lindsay Sloper on the piano-forte, and of Herr Molique in a violin solo, afforded great gratification to the audience. The arrangements generally were satisfactory, and Mr. Wyllie showed himself an excellent caterer. (Exeter Flying Post, Thursday, 27 April 1854)

Friday, 21 April 1854 : Mr. Walter Macfarren's First Chamber Concert (Evening) at 27, Queen Anne-Street, Cavendish-Square.

MR. WALTER MACFARREN'S TWO CHAMBER CONCERTS of PIANOFORTE MUSIC will take place at 27. Queen Ann-street, on Friday Evening, April 21, and May 12 when he will be assisted by Miss Dolby, Miss Amy Dolby, Madame and Signor Ferrari, Messrs. Blagrove, Lucas, W. H. Holmes, and Lindsay Sloper, &c. Subscription, 15s. double ditto, 25s.; single tickets 10s. 6d.; to be had of Leader and Cock. 63, New Bond-street; and Mr. W. Macfarren, 55. Albert-street, Regent's-park. (The Times, Saturday, 25 March 1854)

MR. WALTER MACFARRENS TWO CHAMBER CONCERTS of PIANOFORTE MUSIC, will take place on FRIDAY EVENINGS, April 21, and May 12, when he will be assisted by Miss Dolby, Miss Amy Dolby, Madame and Signor Ferrari, and Mr. Weiss; Mr. Blagrove, Mr. Lucas, Mr. W. H. Holmes, and Mr. Lindsay Sloper, &c. Subscription, 15s.; double ditto, 25s.; single tickets, 10s. 6d.; to subscribers, 7s. 6d. ; to be had of Leader and Cock, 63, New Bond-street; and Mr. Walter Macfarren, 58, Albert-street, Regent's-park. (The Musical world, Saturday, 1 April 1854) (Also: The Musical world, Saturday, 8 April 1854; The Musical world, Saturday, 15 April 1854.)

MR. WALTER MACFARREN'S Two Chamber Concerts of Pianoforte Music will take place at 27, Queen Ann-st., on Friday Evenings, April 21st and May 12th, when he will be assisted by Miss Dolby, Miss Amy Dolby, Madame and Signor Ferrari, Messrs. Blagrove, Lucas, W. H. Holmes, and Lindsay Sloper, &c. Tickets to be had of Leader and Cocks, 63, New Bond-street, and Mr. W. Macfarren, 58, Albert-st, Regent's-pk. (Musical Times, Saturday, 1 April 1854)

MR. WALTER MACFARREN'S first Chamber CONCERT will take place To-morrow EVENING, April 21 at 27, Queen Anne-street, when he will be assisted by Signor and Madame Ferrari, Miss Amy Dolby, Mr. Blagrove, and Mr. Lindsay Sloper.-Tickets to be had of Leader and Cock, 63 New Bond-street, and Mr. W. Macfarren, 58, Albert-street, Regent's-park. (Daily News, Thursday, 20 April 1854)

MR. WALTER MACFARREN'S first Chamber CONCERT will take place To-morrow EVENING (FRIDAY), April 21 at 27, Queen Anne-street, when he will be assisted by Signor and Madame Ferrari, Miss Amy Dolby, Mr. Blagrove, and Mr. Lindsay Sloper.-Tickets to be had of Leader and Cock, 63 New Bond-street, and Mr. W. Macfarren, 58, Albert-street, Regent's-park. (Morning Post, Thursday, 20 April 1854)

Mr. Walter Macfarren's First Chamber Concert took place at the New Beethoven Booms, Queen Anne-street, on Friday evening. The rooms were nearly full. The concert opened with a MS. sonata for pianoforte and violin-the composition of Mr. W. Macfarren-executed by the composer and Mr. Blagrove. The sonata betrays the hand of the musician both in construction and development, while the thoughts are fresh and spontaneous. The adagio, if anything, is too beautiful; the scherzo quasi fantasia is worked up with great animation; and the first and last movement - both allegro - are spirited and striking. The performance requires very adroit mechanism; but Mr. W. Macfarren was equal to the task. He was ably assisted by Mr. Blagrove at the violin. Mozart's superb Fantasia in C minor exhibited Mr. W. Macfarren as a solo performer in the classic school. He played it admirably. Although claiming no extraordinary amount of finger dexterity, this Fantasia demands a certain vigour of execution, combined with feeling and refined taste. Mr. W. Macfarren was loudly applauded in this very excellent performance. He also played Mendelssohn's immensely difficult Fantasia in F sharp minor, which stands far more than Mozart's work in need of superior powers of execution. Mr. W. Macfarren played like a thorough artist. The other important piece was Beethoven's sonata in F (Op. 24), for pianoforte and violin. Here again the pianist had the assistance of Mr. Blagrove. The performances on both hands was unexceptionable, and the applause at the end of each movement most liberal. In another MS. contribution from his own pen - duo for pianoforte - Mr. Walter Macfarren had the advantage of Mr. Lindsay Sloper's assistance. The duet, a work of decided merit, was executed in a very perfect manner. Its great length, however - especially in the first movement, allegro grazioso -- detracts from its effect. The Scherzo come Bolero - the most characteristic movement - was executed well, and with so much spirit as to obtain an unequivocal encore. Mr. W. Macfarren, to conclude, played some charming bagatelles of his own composition - "Prima vera" (Rondoletto), "Bianca" (Roman), and "May Morn" (Rondo). The vocal music was assigned to Signor and Mad. Ferrari. The gentleman gave Mr. Lovell Phillips' canzonet "La Partenza" with genuine feeling, and joined the lady in the duet from Faust, " Dearest, let thy footsteps follow." Mad. Ferrari gave the two lieders by Mendelssohn, "Song of Spring" and "Journey Song," with the right expression. The concert gave entire satisfaction. (The Musical world, Saturday, 29 April 1854)

Friday, 5 May 1854 : Mr. Lucas's Last Musical Evening at 54, Berners-Street.

MR. LUCAS'S LAST MUSICAL EVENING, at 54, Berners-street, FRIDAY, May 5, at half-past 8 o'clock. Programme - Quartets, No. 82, Haydn; No. 5, Beethoven; Fantasia, Mendelssohn ; Serenata trio, Beethoven; and Clarionet Quintett, Mozart. Performers - Messrs. Sainton, Cooper, Hill, Lazarus, and Lindsay Sloper. Tickets to be obtained of Messrs. Addison and Hollier, 210, Regent-street; and Mr. LUCAS. 54. Berners-street, (Morning Chronicle (1801), Tuesday, 2 May 1854) (Also: Morning Post, Tuesday, 2 May 1854; The Times, Tuesday, 2 May 1854; Daily News, Tuesday, 2 May 1854.)

MR. LUCAS'S LAST MUSICAL EVENING, at 54, Berners-street, TOMORROW, May 5, at half-past 8 o'clock. Programme - Quartets, No. 82, Haydn; No. 5, Beethoven; Fantasia, Mendelssohn ; Serenata trio, Beethoven; and Clarionet Quintett, Mozart. Performers - Messrs. Sainton, Cooper, Hill, Lazarus, and Lindsay Sloper. Tickets to be obtained of Messrs. Addison and Hollier, 210, Regent-street; and Mr. LUCAS. 54. Berners-street, (Daily News, Thursday, 4 May 1854) (Also: Morning Post, Thursday, 4 May 1854.)

MR. LUCAS'S LAST MUSICAL EVENING, at 54, Berners-street, THIS EVENING, May 5, at half-past 8 o'clock. Programme - Quartets, No. 82, Haydn; No. 5, Beethoven; Fantasia, Mendelssohn ; Serenata trio, Beethoven; and Clarionet Quintett, Mozart. Performers - Messrs. Sainton, Cooper, Hill, Lazarus, and Lindsay Sloper. Tickets to be obtained of Messrs. Addison and Hollier, 210, Regent-street; and Mr. LUCAS. 54. Berners-street, (Daily News, Friday, 5 May 1854)

MR. LUCAS'S LAST MUSICAL EVENING, at 54, Berners-street, TONIGHT (FRIDAY), at half-past 8 o'clock. Programme - Quartets, No. 82, Haydn; No. 5, Beethoven; Fantasia, Mendelssohn ; Serenata trio, Beethoven; and Clarionet Quintett, Mozart. Performers - Messrs. Sainton, Cooper, Hill, Lazarus, and Lindsay Sloper. Tickets to be obtained of Messrs. Addison and Hollier, 210, Regent-street; and Mr. LUCAS. 54. Berners-street, (Morning Post, Friday, 5 May 1854)

Monday, 8 May 1854 : Philharmonic Society's Fifth Concert of the Present Series (Evening) at Hanover-Square Rooms.

THE PHILHARMONIC SOCIETY.- The Fifth Concert, under the immediate patronage of Her Majesty, His Royal Highness Prince Albert, Her Royal Highness the Duchess of Kent, will take place at the HANOVER SQUARE ROOMS, on Monday, May 8th, 18541, at Eight o'clock precisely. Part I. - Sinfonia, Letter T, Haydn; Scena, "Soft airs around me play " (Euryanthe), Mr. Sims Reeves, Weber; Concerto in G minor, Pianoforte, Mr. Lindsay Sloper, Moscheles; Scena, "Non paventare " (II Flauto Magico), Miss Louisa Pyne, Mozart; Overture, "Midsummer Night's Dream," Mendelssohn. Part II.- Sinfonia in A, No. 7. Beethoven; Duetto, " Bella Ninfa " (Jessonda), Miss Louisa Pyne and Mr. Sims Reeves, Spohr; Overture, "Der Vampyr," Marschner. Conductor, Mr. Lucas. The Sixth Concert will be on the 22nd of May. (The Musical world, Saturday, 29 April 1854)

PHILHARMONIC SOCIETY.-The Subscribers and the Public are respectfully Informed that the FIFTH CONCERT will take place at the Hanover-square Rooms, on MONDAY EVENING next, the 8th of May. Programme: Sinfonia, Letter T, - Haydn; Concerto, pianoforte, in G minor, Mr. Lindsay Sloper -Moschelles; Overture, Midsummer Nights Dream - Mendelssohn;, Sinfonia in A, No. 7, - Beethoven; Overture, Der Vampyr, - Marschner. Vocal performers : Miss Lousa [sic] Pyne and Mr. Sims Reeves. Conductor : Mr. Lucas. To begin at 5 o'clock, Doors open at half-past 7. Single tickets, £1 1s.; Double Tickets, .£1 10s.; Triple Tickets, .£2 5s. to be had at Messrs. Addison and Holliers, 210, Regent-street. (Daily News, Tuesday, 2 May 1854) (Also: Morning Post, Thursday, 4 May 1854; Morning Post, Saturday, 6 May 1854.)

PHILHARMONIC SOCIETY. - The Subscribers and the Public are respectfully informed that the FIFTH CONCERT will take place at the HANOVER-SQUARE ROOMS, on MONDAY EVENING NEXT, May 8. Programme:- Sinfonia, letter 'T,' Haydn; Concerto Pianoforte in G Minor, Mr. Lindsay Sloper, Moschelles; Overture, Midsummer Night's Dream, Mendelssohn ; Sinfonia in A. No. 7, Beethoven; Overture, Der Vampyr, Marschner. Vocal Performers - Miss Louisa Pyne and Mr. Sims Reeves. Conductor, Mr. Lucas. - To begin at Eight o'clock. Doors open at Half-past Seven. - Single Tickets, £I 1s.; Double Tickets, £1 10s.; Triple Tickets, £2 5s.; - to be had at Messrs. Addison and Hollier's, 210, Regent-street. (John Bull, Saturday, 6 May 1854) (Also: Examiner, Saturday, 6 May 1854.)

PHILHARMONIC SOCIETY. The materials of last night's programme were not less excellent that they were of the old stock, but of really the reverse. Two of the best sinfonias of two of the greatest masters, - HAYDN and BEETHOVEN - and an Overture, perhaps the most fanciful of MENDELSSOHN'S operas, formed a great treat for one evening. The opening sinfonia was the well known work in E flat, by Haydn; excellently played, and all its lights and shades fully rendered. The "'Largo," a noble movement, full of HAYDN'S most melodious phrasing, led to the allegra assai, the liveliness of which was well rendered by the orchestra, and that to the master piece of Sinfonia, the andante, for broad dignity of treatment, and a solemn march of sweet melody, modulated into varying phrases, and supported by the most harmonic combinations. The minuetto and trio were in HAYDN'S happy usual style of minuetto writing, while the varied combinations and happily treated melodies, quaint and piquant, characterised the finale vivace. Every movement was heartily applauded. A brilliant concerto in G minor, by MOSCHELLES, played by Mr. LINDSAY SLOPER, was rendered every justice by the artist, who took the most difficult passages with perfect facility, and indicated the perfect meaning of those movements which did contain an indication. But we would rather hear Mr. LINDSAY SLOPER, whose talents are great, lavish them upon the great masters of concerto writing - men who almost raised what was once deemed an inferior style of art to the rank of symphony, but with whom M. MOSHCELLES. clever as he is, cannot for a moment be classed. The Midsummers Night's Dream need no further remark than that it was consummately rendered by the orchestra, whose frequent performance of the work has rendered their execution all but perfection. The vocal music was, first, the scena "Soft airs around me play," from WEBER's Euryanthe, by Mr. SIMS REEVES; but whether it was that his voice was out of order, or that his vocal powers were affected by the present uncertain condition of the weather, certain it was that Mr. S. REEVES sang in a husky tone which was occasionally flat. The other scena, the well known recitative and aria, "Non pavento amabil figlio," was assigned to MISS LOUISA PYNE. The great difficulties of the aria are well known, and it is equally recognised that Miss LOUISA PYNE has accomplished their finished execution. The second part opened with the Sinfonia in No. 7 of BEETHOVEN. Into any detail of this great work every movement, every melody, and every phrase of treatment are as "household words" to every Musician, and even to every amateur appreciator of the great master. The orchestra, perfectly familiar with the work, did their duty with exactness, giving every point its evident rendering, and every movement its appropriate colouring and effect. A duetto from Jessonda, SPOHR "Bella Ninfa," by Miss LOUISA PYNE and Mr. SIMS REEVES ; and the overture to the opera of Der Vampyr by MARSCHNER, closed an excellent evening's performance. In Signor COSTA's absence at Buckingham Palace on the occasion of the concert given last night by her Majesty, Mr. LUCAS conducted the Philharmonic performances with his well known discretion and knowledge of music. (Morning Chronicle (1801), Tuesday, 9 May 1854)

PHILHARMONIC SOCIETY. The fifth concert of the present series contained nothing new, but it was an extremely good one. and every way worthy of the society's well-won fame. We subjoin the programme :- Part I. Sinfonia, Letter T, - Haydn; Scena "Soft Airs round me play," (Euryanthe), Mr Sims Reeves - Weber. Concerto, pianoforte, in G minor, Mr. Lindsay Sloper -Moschelles; Recit & Aria. "Non paventar" "Infelice. Sconsolata" (Il Flauto Magico) Miss Louisa Pyne - Mozart. Overture, Midsummer Night's Dream - Mendelssohn; Part II. Sinfonia in A, No. 7, - Beethoven; Duetta "Bella nimfa" (Jessonda) Miss Louisa Pyne and Mr. Sims Reeves - Spohr. Overture, Der Vampyr, - Marschner. Conductor, Mr. Lucas. The simple but delicious melodies of Haydn were rendered in all their pure, spontaneous beauty. This has always been considered one of the greatest works del genere left us by the father of modern symphony, and in truth it bears that stamp of genius which defies the influence of time and change. Fresh, natural, and lovely as when we first heard it, did this immortal composition again appear to us on the present occasion ; and the audience apparently enjoyed it as much as we, for they applauded every movement enthusiastically. Mr. Sims Reeves did ample justice to Weber's Scena, the short instrumental prelude to which was rendered with exquisite taste and delicacy by the wood wind instruments. By the way, why do not the German artists now performing so successfully at Drury-lane Theatre let us hear Weber's " Euryanthe ?" It is one of his best operas, and has never, in our recollection, been properly given in this country. The concerto in G minor is perhaps the happiest effort of Moscheles. It is symmetrical in form, thoroughly pianistic, and very skilfully instrumented. In the first movement there are some energetic and really grand thoughts, and the succeeding ones possess various melodic and harmonic beauties of a high order. In short, the entire work betokens lofty purpose, considerable learning, perfect conscientiousness, and sterling talent; and although the "vivida vis animi" does not often animate the score although the thoughts that burn, and notes which glow, are few and far between, and it may therefore fail to excite the enthusiasm of musicians, its unquestionable cleverness and legitimacy must always command their respect and admiration. The execution of this excellent composition by Mr. Lindsay Sloper, one of our very best pianists, left very little to be desired. With a trifle more steadiness in the passages, and accent in the motivi, the performance would have been perfect. No player has a purer style or more finished mechanism than Mr. Lindsay Sloper ; and these, the qualities in which he specially excels, and which we have frequently eulogised in criticising his public performances, were never more strikingly displayed than on this occasion. Refined taste and elegance, smoothness and delicacy of touch, that musicianly feeling which is imbued with the spirit of the entire score, which evidences a comprehension of its entire purpose and meaning, together with a masterly division of phrases, and distinct articulation of each note in almost every passage, even the most difficult, were the characteristics that honourably distinguished this performance, which cannot fail to increase Mr. Sloper's well-deserved reputation. He was greatly applauded throughout, and unanimously cheered on quitting the orchestra. (Morning Post, Wednesday, 10 May 1854)

PHILHARMONIC CONCERTS. Fifth Concert, Monday, May 8. Part I. Sinfonia, Letter T, - Haydn; Scena "Soft Airs round me play," (Euryanthe), Mr Sims Reeves - Weber. Concerto, pianoforte, in G minor, Mr. Lindsay Sloper -Moschelles; Recit & Aria. "Non paventar" "Infelice. Sconsolata" (Il Flauto Magico) Miss Louisa Pyne - Mozart. Overture, Midsummer Night's Dream - Mendelssohn; Part II. Sinfonia in A, No. 7, - Beethoven; Duetta "Bella nimfa" (Jessonda) Miss Louisa Pyne and Mr. Sims Reeves - Spohr. Overture, Der Vampyr, - Marschner. This was, as a whole, the pleasantest concert of the season. The symphony of Haydn, one of early date, distinguished in the music-catalogues by the letter T - was a universal favorite towards the end of the last century; was heard everywhere, at the theatres, at Vauxhall, Ranelagh, and wherever an adequate band assembled. Hence it was reiterated ad nauseum, was laid aside, forgotten; and now came out fresh, and to nine in ten of its hearers bore all the recommendations of novelty in addition to its own intrinsic charms, which are manifold, striking, and unquestionable especially in the Andante, (in B flat), a movement that, for originality and beauty, may challenge comparison with anything of the kind extant. Here the composer has shown how completely he possessed the power of creating exquisite melody, and of clothing it in apparently simple but richly-wrought accompaniments, relieving it by secondary subjects skilfully introduced, and treated in a manner that evinced both the superior genius and science of this Father of the modern Symphony, even in his earlier days, and before his twelve grand symphonies - written for Salomon's concerts - and his Creation, led to the culmination of his fame. The seventh symphony of Beethoven is fresh in every amateur's memory. The deep, the almost sublime movement in A minor, was, as we believe it always is when so executed received with a unanimous encore. The same well-deserved compliment was paid to that fine musical illustration of Shakspeare, Mendelssohn's supposed overture to A Midsummer Night's Dream. Mr. Lindsay Sloper did ample justice to the masterly Concerto of Moscheles, a composition which ought now, and doubtless will hereafter, rank with the finest works of the kind. The charming air from Weber's Euryanthe would have been a perfect performance had Mr Sims Reeves less indulged in those vocal displays, those bursts for which the words of a song very rarely offer an apology, and which in the present instance afforded no excuse. Miss Louisa Pyne was loudly and justly applauded for her able manner of executing one of the most difficult compositions that can be allotted to a singer. It was written by Mozart to exhibit a voice of extraordinary compass ; and when our fair readers are told that the performer in this is required to reach the F in altissimo, they will be enabled to estimate the merit of Miss Pyne's achievement. The lovely Duet of Spohr was sung with great judgment and in a pure taste. (Examiner, Saturday, 13 May 1854)

MUSICAL AND THEATRICAL ON-DITS. PHILHARMONIC SOCIETY. The fifth concert of the present series contained nothing new, but it was an extremely good one, and every way worthy of the society's well-won fame. We subjoin the programme - PART I. Sinfonia, Letter T - Haydn. Scena, "Soft airs around me play" (Euryanthe), Mr. Sims Reeves - Weber. Concerto in G minor, pianoforte, Mr. Lindsay Sloper - Moscheles. Recit. "Non paventar" ) (II Flauto Magico), e Aria "Infelice, sconsolata" Miss Louisa Pyne - Mozart. Overture, "Midsummer Night's Dream" - Mendelssohn. PART II. Sinfonia in A, No. 7 - Beethoven. Duetto, 'Bella Ninfa" (Jessonda), Miss Louisa Pyne and Mr. Sims Reeves Spohr. Overture, "Der Vampyr " - Marschner. Conductor, Mr. Lucas. The simple but delicious melodies of Haydn were rendered in all their pure, spontaneous beauty. Mr. Sims Reeves did ample justice to Weber's Scena, the short instrumental prelude to which was rendered with taste and delicacy by the wood wind instruments. The concerto in G minor is perhaps the happiest effort of Moscheles. It is symmetrical in form, thoroughly pianistic, and very skilfully instrumented. In the first movement there are some energetic and really grand thoughts, and the succeeding ones possess various melodic and harmonic beauties of a high order. The execution of this excellent composition by Mr. Lindsay Sloper, one of our very best pianists, left very little to be desired. The beautiful and difficult recitative aria from the "Zauberflote," gracefully no less than skilfully rendered by Miss Louisa Pyne elicited hearty and prolonged demonstrations of applause. Beethoven's great symphony, which opened the second part, was never more worthily executed at these concerts. Spohr's melodious and graceful duet was very sweetly and fervently sung by Miss Louisa Pyne and Mr. Sims Reeves. Mr. Lucas conducted zealously and steadily. It is worthy of remark that the principal singers, instrumentalists, and conductor, at this, one of the best concerts of the Society, Were all English. The rooms were well attended. (The Lady's Newspaper & Pictorial Times, Saturday, 13 May 1854)

PHILHARMONIC CONCERTS. Fifth Concert, Monday, May 8th. PART I. Sinfonia, Letter T - Haydn. Scena, "Soft airs around me play," Euryanthe, Mr Sims Reeves - Weber. Concerto in G minor, Pianoforte, Mr Lindsay Sloper - Moscheles. Recit. and Aria. "Infelice, sconsolata," Il Flauto Magico, Miss Louisa Pyne - Mozart. Overture, Midsummer-Night's Dream - Mendelssohn. PART II. Sinfonia in A. No 7 - Beethoven. Duetto, "Bella Ninfa," Jessonda, Miss Louisa Pyne and Mr Sims Reeves - Spohr. Overture, Der Vampyr - Marschner. This was, as a whole, the pleasantest concert of the season. The symphony of Haydn, - one of early date, distinguished in the music-catalogues by the letter T - was a universal favorite towards the end of the last century ; was heard everywhere, at the theatres, at Vauxhall, Ranelagh, and wherever an adequate band assembled. Hence it was reiterated ad nauseam; was laid aside, forgotten; and now came out fresh, and to nine in ten of its hearers bore all the recommendations of novelty in addition to its own intrinsic charms, which are manifold, striking, and unquestionable, especially in the andante (in B flat), a movement that, for originality and beauty, may challenge comparison with anything of the kind extant. Here the composer has shown how completely he possessed the power of creating exquisite melody, and of clothing it in apparently simple but richly-wrought accompaniments, relieving it by secondary subjects skilfully introduced, and treated in a manner that evinced both the superior genius and science of this Father of the modern Symphony, even in his earlier days and before his twelve grand symphonies - written for Salomon's concerts - and his Creation, led to the culmination of his fame. The seventh symphony of Beethoven is fresh in every amateur's memory. The deep, the almost sublime movement in A minor, was, as we believe it always is when so executed, received with a unanimous encore. The same well-deserved compliment was paid to that fine musical illustration of Shakespeare, Mendelssohn's supposed overture to A Midsummer Night's Dream. Mr Lindsay Sloper did ample justice to the masterly Concerto of Moscheles, a composition which ought now, and doubtless will hereafter, rank with the finest works of the kind. The charming air from Weber's Euryanthe would have been a perfect performance had Mr Sims Reeves less indulged in those vocal displays, those bursts for which the words of a song very rarely offer an apology, and which in the present instance afforded no excuse. Miss Louisa Pyne was loudly and justly applauded for her able manner of executing one of the most difficult compositions that can be allotted to a singer. It was written by Mozart to exhibit a voice of extraordinary compass ; and when our fair readers are told that the performer in this is required to reach the F in altissimo, they will be enabled to estimate the merit of Miss Pyne's achievement. The lovely duet of Spohr was sung with great judgment and in a pure taste. (Examiner, Saturday, 13 May 1854)

PHILHARMONIC CONCERTS.- At the Fifth Concert (which was well conducted by Mr. Lucas, for Signor Costa, who was summoned elsewhere "by command") the principal novelty was, Haydn's Symphony, letter T, with its andante, more pleasant and more fresh than words can hardly express. The solo player was Mr. Lindsay Sloper; who did good justice to M. Moscheles' Concerto in G minor. The singers were Miss Louisa Pyne and Mr. Sims Reeves. (The Athenaeum, Saturday, 13 May 1854)

PHILHARMONIC SOCIETY. Although there was little novelty in the fifth concert, on Monday night, it was a good one, and there was a full attendance. The following was the programme :- PART I. Sinfonia, Letter T - Haydn. Scena, "Soft airs around me ploy" (Euryanthe), Mr. Sims Reeves - Weber Concerto in G Minor, Pianoforte, Mr. Lindsay Sloper - Moscheles. Recit. "Non paventar" ) Aria. "Infelice, sconsolata" (Il Flauto Magico) Miss Louisa Pyne - Mozart Overture, "Midsummer Night's Dream" - Mendelssohn. PART II. Sinfonia in A, No. 7 - Beethoven. Duetto, "Bella Ninfa" (Jessonda), Miss Louisa Pyne and Mr. Sims Reeves - Spohr Overture, "Der Vampyr" - Marschner. The symphony in E flat of Haydn, being rarely brought forward, was not uninteresting. Still, it is one of the dryest and most primitive works of the master ; and, except a variation in the andante, and some clever writing in the finale, contains nothing worthy of his fame. It was played with great spirit, but did not make much impression. So many fine symphonies of the same composer are consigned to the shelf, that the choice of one so comparatively feeble was, to say the least, injudicious. We should, however, be sorry to see Haydn, the "Father of the orchestra," lose his place at concerts, where the chief attraction depends upon orchestral music; and for this reason alone, in the absence of a composition of greater pretensions, the " letter T," antiquated and perruque as it was, was welcome. The symphony in A of Beethoven, is one of the most wonderful inspirations of his wonderful genius. The execution of this, on the whole, was first-rate. The allegretto was loudly encored, and well deserved the compliment, since it could hardly have been better played. Delicacy, force, and the strictest attention to light and shade, were observable throughout. As much may be said, indeed, for every movement of the symphony, which was a rich treat to the connoisseur, and thoroughly appreciated by the audience. The overture to A Midsummer Night's Dream needs neither description nor praise. The execution, however, though delicate in the fairy passages, was not satisfactory. The time generally was too slow, and the many unwarranted changes, alternately to quicker and slower, gave a disjointed effect to the ensemble. The overture of Herr Marschner is one of the closest and worst imitations of Weber. It is a sort of parody of the overture to Euryanthe; the second theme is parodied; the fugato, after the episode, for the stringed instruments, muted, is parodied; and many of the mere passages are parodied - the result being a vapid commonplace. Mr. Lindsay Sloper's second appearance at the Philharmonic Concerts was more brilliant than his first, inasmuch as he had a great deal more to do. The concerto of M. Moscheles, in G minor, is one of the most lengthy and elaborate of those compositions for pianoforte and orchestra written chiefly with a view to show off the principal instrument. Mr. Sloper was a pupil of M. Moscheles ; and it is, consequently, not surprising that this concerto should be a favourite with him. He played it last year at his own concert ; and again selected it on the present occasion. While, however, two concertos of Beethoven, and at least half-a-dozen of the best of Mozart, are never performed - to say nothing of those of Mr. Sterndale Bennett, one of the first pianists and composers for the pianoforte of the present age-we cannot but think that a revival of that of M. Moscheles - which has little to recommend it beyond a series of difficult tours de force, and as a connected work possesses no great value - was ill-advised. Nevertheless, Mr. Sloper's performance was pointed, clear, and masterly ; the applause he obtained was genuine, and his success decided. The vocal music was beyond reproach. Mr. Sims Beeves sang the grand tenor scena from Euryanthe to perfection; and the opening movement of the first aria of the Queen of Night, "Non paventar," was given with faultless intonation and true feeling by Miss L. Pyne. The lovely, flowing, and melodious duet, "Bella Ninfa, mi odierai," from Spohr's opera, Jessonda, was admirably sung by the lady and gentleman in conjunction. The attendance of Mr. Costa having been commanded at Buckingham Palace, Mr. Lucas, one of the directors, officiated in his place, and accomplished his duties with so much efficiency that the subscribers had no cause to regret the loss of the popular and energetic conductor in ordinary. (The Musical world, Saturday, 13 May 1854)

MISS FANNY HOLLANDS SECOND ANNUAL CONCERT will take place at the Hanover-square Rooms on MONDAY EVENING, June 14th. Artists: -Mesdames Liebhart, Fanny Holland, and Florence Lancia, Drasdil, Abbott, and George Dowell; Messrs. George Perren, Frank Elmore, and Herr Reichardt, Signor Caravoglia and Mr Chaplin Henry, Signor Tito Mattei and Mr. J. F. Barnett, Signor Risegari, M. Paque, and Mr. Frederick Chatterton. Conductors, Mr Ganz, Signori Li Calsi and Raimo, Mr. F. Mori and Mr. Lindsay Sloper.-Stalls, 7s. 6d.; reserved seats, 5s.; area 2s. 6d.; admission, 1s. To be obtained at the Rooms and of Miss Fanny Holland, 98, New Bond-street, W. (The Times, Wednesday, 9 June 1869) (Also: The Times, Friday, 11 June 1869.)

MISS FANNY HOLLANDS SECOND ANNUAL CONCERT will take place at the Hanover-square Rooms THIS EVENING (MONDAY). Artists: -Mesdames Liebhart, Fanny Holland, and Florence Lancia, Drasdil Abbott, and George Dowell; Messrs. George Perren, Frank Elmore, and Herr Reichardt, Signor Caravoglia and Mr Chaplin Henry, Signor Tito Mattei and Mr. J. F. Barnett, Signor Risegari, M. Paque, and Mr. Frederick Chatterton. Conductors, Mr Ganz, Signori Li Calsi and Raimo, Mr. F. Mori and Mr. Lindsay Sloper.-Stalls, 7s. 6d.; reserved seats, 5s.; area 2s. 6d.; admission, 1s. To be obtained at the Rooms and of Miss Fanny Holland, 98, New Bond-street, W. (Morning Post, Monday, 14 June 1869)

Fanny Holland's Concert. Miss Fanny Holland gave her second annual concert at the Hanover-square Rooms on Monday evening last. Very few vocalists have achieved distinction in so short a time as Miss Holland, whose natural gifts have been turned to the best account by careful study. A clear, powerful, and sympathetic voice, and an exceptionally pleasing appearance, are two of the advantages possessed by Miss Holland. Another remains to be enumerated, and that is, a boundless enthusiasm for the art she professes, Miss Fanny Holland is a singer of remarkable impulse, and that, when she first appeared, only two or three years ago, was one stepping-stone to success. The young lady now rules despotically in the concert room, and among all the younger vocalists of the present day there is no one a greater favourite than Miss Holland, Her principal solo was the grand scena "Softly sighs," from Der Freischütz. In this, or rather in the greater part of it, impulse is everything, and Miss Holland gave the intermediate " Hark ! 'tis Rodolph's step, it is my love," and the final allegro, first heard as a subject in the overture, with extraordinary vehemence of manner, She gave a song, 'I long for the violet of Spring," not likely to immortalise Herr Reichardt as a composer, and Mr. W. Ganz's graceful little "'Since yesterday." F. Clay's "She wandered down the mountain side," a better song than a vast number affected by concert singers, came last in Miss Holland's personal list for the evening. With Signor Caravoglia, the esteemed buffo, she sang in the duet " Dunque io son." Mdlle. Liebhart coupled the "Adieu" of Franz Abt and the " Ruck, ruck" of Kücken. She was recalled, but, having to sing again, declined what might have been justly considered an encore. Enthusiasm was quite the order of the night, and the artistes were, almost without exception, compelled to reappear on the platform. Mdlle. Drasdil, who sings in English better than many foreign vocalists, seems to have turned her attention to the Scotch pronunciation. "John Anderson, my Jo," is precisely the kind of song suited to her noble voice and broad, expressive style of phrasing. She sang the old melody so well that the audience insisted on the repetition of one verse. The particular impression of the evening was made by that finished vocalist Madame Florence Lancia. She gave Rode's Air and Variations with charming fluency. The "Good-night, sweet mother," of N. Diodonato created a perfect furore. This was followed by a ballad, " Who'll buy my Spring violets ? " Madame Lancia responded to the renewed applause with a version of "I know a maiden fair to see," in which she accompanied herself. Mr. George Perren and Herr Reichardt both gave songs of their own. Mr. Perren's reception was flattering in the extreme. Mr. Frank Elmore, another tenor, gave Tito Mattei's expressive romance "Nou e ver" (accompanied by the composer), and Mr. Chaplin Henry sang two songs by G. V. Elliott, one of them the bold and admirably written "Hybron the Cretan." Miss Abbott's solo was the cavatina "Mille volte," by Donizetti. Mr. J. F. Barnett played Liszt's Reminiscences of A Midsummer Night's Dream;" and Signor Tito Mattei gave two of his own clever compositions for the pianoforte, a "Melodie " and " Grande Marche." Signor Risegari, an excellent violist, gave a solo; and Mr. Paque's name was down far the violoncello part in a Mendelssohn's Trio. Mr. W. Ganz, Mr. Lindsay Sloper, Mr. Frank Mori, and Signor Raimo were the conductors. (The Era, Sunday, 20 June 1869)

Wednesday, 10 May 1854 : Mr. Walter Macfarren's Two Chamber Concerts of Pianoforte Music at 27, Queen Anne-Street, Cavendish-Square.

MR. WALTER MACFARREN'S Two Chamber Concerts of Pianoforte Music will take place at 27, Queen Ann-st., on Friday Evenings, April 21st and May 10th, when he will be assisted by Miss Dolby, Miss Amy Dolby, Madame and Signor Ferrari. Mr. Weiss, Messrs. Blagrove, Lucas, W. H. Holmes, and Lindsay Sloper, Sec. Tickets of Leader and Cock, 63, New Bond-street, and Mr. W. Macfarren, 58, Albert-st., Regent's-pk. (Musical Times, Saturday, 15 April 1854)

Friday, 19 May 1854 : Signor And Madame Ferrari's Annual Concert (Evening) at Hanover-Square Rooms.

SIGNOR AND MADAME FERRARI beg to announce that their ANNUAL CONCERT will take place at the Hanover Square Rooms, on Friday evening, May 19th. Vocalists: Madame Mortier La Fontaine, Miss Augusta Thomson, and Madame Ferrari; Messrs. Herberte, H. C. Regaldi, Wallworth, and Signor Ferrari. Instrumentalists: Piano, Mrs. F. B. Jewson and Mr. George Russell; Concertino, Signor Giulio Regondi; Harp, Mr. John Thomas; Violoncello, M. Paque and Mr. Schroeder; Violin, M. Folkes. Accompanyists: Messrs. Lindsay Sloper and G. Russell. Tickets, 7s., to be had of the principal music-sellers. Reserved Seats 10s. 6d., to be had only of Signor and Madame Ferrari, 69, Upper Norton Street, Portland Place. (The Musical world, Saturday, 29 April 1854) (Also: The Musical world, Saturday, 6 May 1854; The Musical world, Saturday, 13 May 1854.)

SIGNOR and MME. FERRARI beg to announce that their ANNUAL CONCERT will take place at the Hanover-square Rooms, on FRIDAY EVENING, May 19. Vocalists- Madame Mortier La Fontaine, Miss Augusta Thomson, and Madame Ferrari - Messrs. Herberte, H. C. Regaldi, Wallworth, and Signor Ferrari. Instrumentalists-Piano, Mrs. F. B. Jewson and Mr. George Russell ; concertina, Signor Giulio Regondi ; harp, Mr. John Thomas ; violoncello, M. Paque and Mr. Schroeder; violin, Mr. Folkes Accompanyists, Messrs. Lindsay Sloper and G. Russell.- Tickets, 7s., to be had at the principal musicsellers' ; reserved seats, 10s. 6d., to be had only of Signor and Madame Ferrari, 69, Upper Norton-street Portland-place. (The Times, Wednesday, 3 May 1854) (Also: Morning Post, Thursday, 11 May 1854; Globe, Thursday, 18 May 1854; The Standard, Wednesday, 17 May 1854; Morning Chronicle (1801), Tuesday, 16 May 1854; Morning Post, Monday, 15 May 1854; The Athenaeum, Saturday, 13 May 1854; Daily News, Thursday, 11 May 1854; Globe, Thursday, 11 May 1854; The Times, Wednesday, 10 May 1854; The Athenaeum, Saturday, 6 May 1854; Illustrated London News, Saturday, 13 May 1854.)

SIGNOR and MADAME FERRARI beg to announce that their ANNUAL CONCERT will take place, at the HANOVER-SQUARE ROOMS, on FRIDAY EVENING, May 19th. Vocalists - Madame Mortier La Fontaine. Miss Augusta Thomson, and Madame Ferrari; Messrs. Herberte, H. C. Regaldi, Wallworth, and Signor Ferrari. Instrumentalists. - Piano: Mrs. F. B. Jewson and Mr. George Russell. Concertina: Signor Giulio Regondi. harp: Mr. John Thomas. Violoncello: M. Paque and Mr. Schroeder. Violin: Mr. Folkes. Accompanyists: Messrs. Lindsay Sloper and G. Russell. - Tickets, 7s., to be had at the principal Music-sellers; Reserved Seats, 10s. 6d., to be had only of Signor and Madame Ferrari, 69, Upper Norton-street, Portland-place. (John Bull, Saturday, 13 May 1854) (Also: John Bull, Saturday, 13 May 1854.)

SIGNOR and MADAME FERRARI beg to announce that their ANNUAL CONCERT will take place at the Hanover-square Rooms, on Friday Evening, May 19th. Vocalists:- Madame Mortier La Fontaine, Miss Augusta Thomson, and Madame Ferrari; Messrs. Herberte, H. C. Regaldi, Wallworth, and Signor Ferrari. Instrumentalists :- Piano, Mrs. F. B. Jewson and Mr. George Russell; Concertina, Sig. Giulio Regondi; Harp, Mr. John Thomas; Violoncello, M. Paque and Mr. Schroeder; Violin, Mr. Folkes. Accompanyists :- Messrs. Lindsay Sloper and G. Russell.-Tickets, 7s., to be had at the principal Music-sellers. Reserved seats, 10s. 6d., to be had only of Signor and Madame Ferrari, 69, Upper Norton-street, Portland-place. (Musical Times, Monday, 15 May 1854)

SIGNOR and MME. FERRARI beg to announce that their ANNUAL CONCERT will take place at the Hanover-square Rooms, TOMORROW EVENING. Vocalists- Madame Mortier La Fontaine, Miss Augusta Thomson, and Madame Ferrari - Messrs. Herberte, H. C. Regaldi, Wallworth, and Signor Ferrari. Instrumentalists-Piano, Mrs. F. B. Jewson and Mr. George Russell ; concertina, Signor Giulio Regondi ; harp, Mr. John Thomas ; violoncello, M. Paque and Mr. Schroeder; violin, Mr. Folkes Accompanyists, Messrs. Lindsay Sloper and G. Russell.- Tickets, 7s., to be had at the principal musicsellers' ; reserved seats, 10s. 6d., to be had only of Signor and Madame Ferrari, 69, Upper Norton-street Portland-place. (Morning Post, Thursday, 18 May 1854) (Also: Daily News, Thursday, 18 May 1854.)

HANOVER SQUARE ROOMS. SIGNOR AND MADAME FERRARI'S CONCERT Signor and Madame Ferrari gave their concert on the 18th, at the Hanover Square Rooms, to a crowded and fashionable audience. The lady, who never sang in better voice, introduced for the first time in this country a cavatina from Verdi's "Il Trovatore:" it was original and graceful. A young pupil also of Madame Ferrari's made her first debut, and is likely to continue to deserve the applause she received in the exquisite duetto of "Sull'aria," which she sang with her "maitresse" with much grace and feeling. Miss Augusta Thompson's voice is sweet and clear, the intonation perfect - a rare thing in a timid debutante. Signor Giulio Regondi enchanted all hearts with his performance on the concertina. If he had been gifted with a voice to sing as he plays, he would have been unrivalled in the field. Mr. Wallworth, not yet much known to the public, sang Verdi's "Infelice" with much taste and power, which entitled him to the applause he justly received. Herberte is wonderfully improved; some of his tones reminded us of Mario; the duetto' "Liberi" (Bellisario), with Signor Ferrari, went off admirably. The singers having no orchestral accompaniments, were all heard to great advantage. Mr. Lindsay Sloper has the great art of subduing his accompaniments, which are always played with such knowledge of the peculiarities of each singer. Mr. John Thomas, and Monsieur Paque, gave us delicious morceaux on their respective instruments, the harp and violoncello. Mercadante's "Liete Voci" was sung with full effect by Signor Ferrari. He and Madame may have the satisfaction of knowing that they made their concert attractive enough and short enough for the audience to desire MORE: how much better than when all the performances are so long that everybody goes away weary and worn out. OOO (The Ladies' Cabinet of Fashion, Music and Romance, Thursday, 1 June 1854)

Monday, 29 May 1854 : Amateur Musical Society's Sixth Concert (Evening).

AMATEUR MUSICAL SOCIETY. The sixth concert took place on Monday evening, and though so great an attraction as Don Giovanni was announced at the Royal Italian Opera, and Mr. Hullah's pupils were busily engaged with a performance of the Creation, still there was a sufficiently large muster of the members and their friends to form a very brilliant audience. The orchestra did not fare so well under these circumstances, as the leaders of the various departments were obliged to send deputies, leave from Covent Garden being granted to none. This will easily account for the occasional want of steadiness in the band. The programme was as follows :- PART I. Wedding March - Mendelssohn. Symphony in F - Henri Leslie. Song, "Mine be a Cot" - Val Morris. Overture (Evelyne) G. A. Osborne. PART II. Song "The Lady and the Nightingale," with Pianoforte obbligato - Lindsay Sloper Selection (II Don Giovanni) - Mozart. Concerted Piece, "Rosalind," for Voice and Pianoforte - Miss Gabriel Overture (Coriolanus) - Beethoven. Conductor, Mr. G. A. Osborne. Of Mr. Henry Leslie's extremely clever symphony, which dis plays a more than ordinary degree of musical feeling and experience, combined with a knowledge of the classical models and a facility in the use of the various instruments, the result of close and diligent study, we have spoken more than once in terms of high favour. It improves on every hearing. The Amateurs know it thoroughly, and, on the whole, it is one of their best performances. Nevertheless, we should like to hear this symphony by one of our Philharmonic orchestras. In consequence of the illness of Mr. Eliot Galer, we had no opportunity of judging of the merits of Mr. Val Morris's song; but, in order that no gap in the programme should occur, Mr. Alfred Pollock kindly performed on the oboe, with his accustomed taste and facility, something that seemed to us a modern air written in a quaintly Handelian style. Mr. Pollock is certainly the first amateur player on the oboe in this country. The light, brilliant, and very effective overture of Mr. Osborne brought the first part to a satisfactory conclusion, and was received with great applause. Miss Dolby sang Mr. Lindsay Sloper's scena as Miss Dolby always sings (need we say more ?), and most ably was she accompanied in the brilliant and effective obbligato by Mr. S. W. Waley on the pianoforte. The more we hear " The Lady and the Nightingale," the better we like it, as something new in form, and exceedingly pleasant to listen to. The only remaining feature of the programme requiring notice is the song of Miss Gabriel, which, though somewhat ambitious in title, is nevertheless cleverly written both for voice and piano. It was sung by Miss Alleyne and accompanied by the fair authoress, who, on entering and leaving the orchestra, was greeted with loud applause. We hear that the Loudon Deutscher Munner-Chor, under the direction of Herr Pauer, are again to perform at the seventh concert on June 12th, and, after their deserved success on a former occasion, we have no doubt they will prove a great attraction. (The Musical world, Saturday, 3 June 1854)

Friday, 9 June 1854 : Miss Dolby and Mr. Lindsay Sloper's Annual Grand Morning Concert at Hanover-Square Rooms.

MISS DOLBY and Mr. LINDSAY SLOPER'S ANNUAL GRAND MORNING CONCERT will take place at the Hanover-square Rooms on Friday, June 9, when they will be assisted by Mme. Persiani, Miss Amy Dolby, Mr. Sims Reeves. Signor Belletti, and Herr Ernst. The orchestra, complete in every department, will consist of the members of the Orchestral Union. Conductors, Messrs. Benedict and Alfred Mellon. Tickets, half-a-guinea each, may be had at the principal music warehouses. Reserved seats, 16s. each, or three for two guineas, to be had of Messrs. Cramer and Co., 201, Regent-street; of Miss Dolby, 2, Hinde-street, Manchester-square; and of Mr. Lindsay Sloper, 7, Southwick-place, Hyde-park-square. (Morning Chronicle (1801), Tuesday, 16 May 1854) (Also: Morning Post, Thursday, 18 May 1854; Morning Chronicle (1801), Friday, 19 May 1854; The Times, Friday, 19 May 1854; Examiner, Saturday, 27 May 1854.)

MISS DOLBY and Mr. LINDSAY SLOPER'S ANNUAL GRAND MORNING CONCERT will take place at the Hanover-square Rooms on Friday, June 9, when they will be assisted by Madame Persiani, Miss Amy Dolby, Mr. Sims Reeves. Signor Belletti, and Herr Ernst. The orchestra, complete in every department, will consist of the members of the Orchestral Union. Conductors, Messrs. Benedict and Alfred Mellon. Tickets, half-a-guinea each, may be had at the principal music warehouses. Reserved seats, 16s. each, or three for two guineas, to be had of Messrs. Cramer and Co., 201, Regent-street; of Miss Dolby, 2, Hinde-street, Manchester-square; and of Mr. Lindsay Sloper, 7, Southwick-place, Hyde-park-square. (Morning Post, Tuesday, 16 May 1854) (Also: Daily News, Thursday, 18 May 1854; Daily News, Saturday, 20 May 1854; Morning Post, Saturday, 20 May 1854; The Athenaeum, Saturday, 27 May 1854.)

MISS DOLBY and Mr. LINDSAY SLOPER'S ANNUAL GRAND MORNING CONCERT will take place at the Hanover-square Rooms, on Friday, June 9, when they will be assisted by Madame Persiani, Miss Amy Dolby, Mr. Sims Reeves, Signor Belletti and Herr Ernst. The orchestra, complete in every department, will consist of the members of the Orchestral Union. Conductors Messrs. Benedict and Alfred Mellon. Tickets, half-a-guinea each, may be had at the principal music warehouses; reserved seats 15s, each, or three for two-guineas, to be had of Messrs. Cramer and Co., 201, Regent Street; of Miss Dolby, 2, Hinde Street, Manchester Square; and of Mr. Lindsay Sloper, 7, Southwick-place, Hyde Park-square. (Illustrated London News, Saturday, 27 May 1854) (Also: The Musical world, Saturday, 27 May 1854.)

MISS DOLBY and Mr. LINDSAY SLOPER'S ANNUAL GRAND MORNING CONCERT will take place at the Hanover-square Rooms, on Friday, June 9th, when they will be assisted by Madame Persiani, Miss Amy Dolby, Mr. Sims Reeves, Signor Belletti, and Herr Ernst. The Orchestra, complete in every department, will consist of the members of the Orchestral Union. Conductors, Messrs Benedict and Alfred Mellon. - Tickets, half-a-guinea each, may be had at the principal music warehouses. Reserved seats, 15s. each, or three for two guineas, to be had of Messrs. Cramer and Co., 201, Regent-street; of Miss Dolby, 2, Hinde-street, Manchester-square; and of Mr. Lindsay Sloper, 7, Southwick-place, Hyde-park-square. (Musical Times, Thursday, 1 June 1854) (Also: Bell's Weekly Messenger, Saturday, 3 June 1854.)

MADAME PERSIANI, Miss Amy Dolby, Mr Sims Reeves, Signor Belletti and Herr Ernst, with the Orchestral Union will appear at Miss DOLBY'S and Mr LINDSAY SLOPER'S ANNUAL GRAND MORNING CONCERT, at the Hanover-square Rooms on FRIDAY next, June the 9th. Single Tickets, Half-a-Guinea each, to be had at the principal Music Warehouses. Reserved Seats, 15s. each, or Three for Two Guineas, to be had of Messrs Cramer and Co. 201, Regent-street; of Miss Dolby. 2, Hinde street, Manchester square; and of Mr Lindsay Sloper, 7, Southwick-place, Hyde-park-square. A few seats in the Orchestra at 5s. each, to be had only of Messrs Cramer and Co. (Examiner, Saturday, 3 June 1854) (Also: The Athenaeum, Saturday, 3 June 1854; Daily News, Wednesday, 7 June 1854; Morning Chronicle (1801), Wednesday, 7 June 1854; Morning Post, Wednesday, 7 June 1854.)

MUSICAL ARRANGEMENTS FOR THE ENSUING WEEK. To-Day.- Cologne Choral Union's last Concert, Hanover Square Rooms. Half-past Eight o'clock. Monday.- Philharmonic Society's Concert, Hanover Square Rooms. Eight o'clock. Mr. G. A. Osborne's Matinée Musicale, Hanover Square Rooms. Half-past Two o'clock. Misses Cole and Mr. Alfred Gilbert's Matinée Musicale, Willis's Rooms, King Street, St. James's. Three o'clock. Madame Anichini's Matinée Musicale, Campden House, Kennington. Three o'clock. Tuesday.- Musical Union, Matinée Musicale, Willis's Rooms, King Street, St. James's. Quarter-past Three o'clock. Misses McAlpine's Concert, Hanover Square Rooms. Eight o'clock. City Musical Union's Concert, Crosby Hall, Bishopsgate Street. Eight o'clock. Wednesday.- New Philharmonic Society's Concert, St. Martin's Hall. Eight o'clock. Mr. Bensons' Annual Concert, 27, Queen Anne Street. Thursday.- T. H. Wright's Morning Concert, Willis's Rooms, King Street, St. James's. Three o'clock. Mr. H. Blagrove's Violin Soirée, 71, Mortimer Street. Eight o'clock. Friday.- Sig. Bazzini's Morning Concert, Willis's Rooms, King Street, St. James's. Two o'clock. Miss Dolby and Mr. Lindsay Sloper's Morning Concert, Hanover Square Rooms, Two o'clock. (The Musical world, Saturday, 3 June 1854)

MADAME PERSIANI, Miss Amy Dolby, Mr. Sims Reeves, Signer Belletti, und Herr Ernst, with the Orchestral Union, will appear at Miss Dolby's and Mr. Lindsay Sloper's ANNUAL GRAND MORNING CONCERT, at the Hanover square Rooms, on Friday next, June the 9th. Single Tickets, Half-a-Guinea each, to be had at the principal Music Warehouses; Reserved Seats; Fifteen Shillings each, or three for Two Guineas. To be had of Messrs. Cramer and Co.; of Miss Dolby, 2, Hinde-street, Manchester-square; and of Mr. Lindsay Sloper, 7, Southwick-place, Hyde-Park-square. A few seats in the Orchestra at Five Shillings each. To be had only of Messrs. Cramer and Co. (The Musical world, Saturday, 3 June 1854)

MADAME PERSIANI, Miss Amy Dolby, Mr Sims Reeves, Signor Belletti and Herr Ernst, with the Orchestral Union will appear at Miss DOLBY'S and Mr LINDSAY SLOPER'S ANNUAL GRAND MORNING CONCERT, at the Hanover-square Rooms, THIS DAY (FRIDAY), 9th of June. Single Tickets, Half-a-Guinea each, to be had at the principal Music Warehouses. Reserved Seats, 15s. each, or Three for Two Guineas, to be had of Messrs Cramer and Co. 201, Regent-street; of Miss Dolby. 2, Hinde street, Manchester square; and of Mr Lindsay Sloper, 7, Southwick-place, Hyde-park-square. A few seats in the Orchestra at 5s. each, to be had only of Messrs Cramer and Co. (Examiner, Saturday, 3 June 1854) (Also: Morning Post, Friday, 9 June 1854.)

MADAME PERSIANI, Miss Amy Dolby, Mr Sims Reeves, Signor Belletti and Herr Ernst, with the Orchestral Union will appear at Miss DOLBY'S and Mr LINDSAY SLOPER'S ANNUAL GRAND MORNING CONCERT, at the Hanover-square Rooms, TOMORROW, the 9th of June. Single Tickets, Half-a-Guinea each, to be had at the principal Music Warehouses. Reserved Seats, 15s. each, or Three for Two Guineas, to be had of Messrs Cramer and Co. 201, Regent-street; of Miss Dolby. 2, Hinde street, Manchester square; and of Mr Lindsay Sloper, 7, Southwick-place, Hyde-park-square. A few seats in the Orchestra at 5s. each, to be had only of Messrs Cramer and Co. (Morning Post, Thursday, 8 June 1854)

MADAME PERSIANI, Miss Amy Dolby, Mr Sims Reeves, Signor Belletti and Herr Ernst, with the Orchestral Union will appear at Miss DOLBY'S and Mr LINDSAY SLOPER'S ANNUAL GRAND MORNING CONCERT, at the Hanover-square Rooms, THIS DAY, 9th of June. Single Tickets, Half-a-Guinea each, to be had at the principal Music Warehouses. Reserved Seats, 15s. each, or Three for Two Guineas, to be had of Messrs Cramer and Co. 201, Regent-street; of Miss Dolby. 2, Hinde street, Manchester square; and of Mr Lindsay Sloper, 7, Southwick-place, Hyde-park-square. A few seats in the Orchestra at 5s. each, to be had only of Messrs Cramer and Co. (Morning Chronicle (1801), Friday, 9 June 1854)

Our readers who are interested in the world of bene?t concerts will be satis?ed to learn that Madame Anichini, the Misses Cole and Mr. A. Gilbert, and that graceful composer and clever pianist, Mr. G. Osborne, received their friends early in the week, - that the concert of the Misses M'Alpine took place on Wednesday, - that Mr. T. Wright (whose instrument, the harp, seems to attract more attention than it did a while since) gave his Concert on Thursday, - and that yesterday entertainments were held by Miss Dolby and Mr. Lindsay Sloper in company, and by Signor Bazzini. (The Athenaeum, Saturday, 10 June 1854)

MISS DOLBY AND MR. L. SLOPER'S CONCERT. Miss Dolby and Mr. Lindsay Sloper gave their annual concert at the Hanover-square Rooms on Friday morning. We need not dilate upon the great merits of these universally celebrated artists- two of the best that England has produced. Their joint invitation always brings together one of the largest audiences of the season, and it met with as extensive an acceptance on the present as on any previous occasion. Every corner of the room was filled, and the programme, admirable in almost every respect, could not fail to increase the fame of the concert-givers. The principal vocalists were Madame Persiani, Miss Amy Dolby, and Miss Dolby, Mr. Sims Reeves, and Signor Belletti ; the solo instrumentalists, Herr Ernst and Mr. Lindsay Sloper ; and with these attractions were combined those of the excellent "Orchestral Union" band, conducted by Mr. Alfred Mellon, and a selection of music such as we rarely find at a fashionable morning concert. Miss Dolby sang Benedict's scena, " Oh, memory cease to grieve me," Mr. Lindsay Sloper's fantasia, for voice and piano. " The Lady and the Nightingale," and Leslie's ballad, "Oh, let me sing to thee," besides taking part with Madame Persiani, Signor Belletti, and Mr. Sims Reeves, in the performance of Verdi's popular quartet, from the last act of "Rigoletto." Miss Dolby was in full possession of those rare vocal powers which she invariably uses with consummate skill, and all her efforts, each unsurpassable in its way, were most enthusiastically applauded. Great praise is due to Mr. Lindsay Sloper for introducing Mr. Sterndale Bennett's beautiful concerto in F minor. It is seldom, indeed, that an English professor thinks fit to bring forward publicly the work of another ; and, if anything could enhance the value of so liberal and patriotic an act, it is the fact that Mr. Lindsay Sloper played the piece to perfection. He was also completely successful in his execution of Chopin's "Andante Spianato and Polonaise," with orchestral accompaniment, and both his performances elicited unanimous demonstrations of approval. Mercadante's duet, "Quell' Aspetto," served to display the abilities of Mr. Sims Reeves and Signor Belletti to great advantage. Madame Persiani's extraordinary skill and exquisite taste found ample scope in the florid aria, " Prendi per me sei libero," from " L'Elisir d'Amore;" and Herr Ernst, in his very clever and original "Allegro Pathetique," accomplished in the most masterly manner some of the most marvellous tours de force ever attempted on the violin. With a compliment to Mr. Mellon for his steady and energetic conducting, we must conclude our notice of this concert, which, on the whole, was one of the best yet given during the present season. (Morning Post, Monday, 12 June 1854)

CONCERTS. Miss Dolby and Mr. Lindsay Sloper gave their annual concert at the Hanover-square Rooms on Friday morning. It was, as usual, one of the most remarkable concerts of the season. The orchestra, complete in every department, consisted of the members of the Orchestral Union, and Mr. Benedict and Mr. Alfred Mellon acted as conductors. Mr. Sloper's fantasia for the voice and piano-forte, "The Lady and the Nightingale," was performed by Miss Dolby and the composer. We have already had occasion to speak of this composition, which is a cantata with a brilliant descriptive accompaniment; it is very beautiful and effective. Miss Dolby also sang the scena; "O memory, cease to grieve me," from Benedict's opera The Brides of Venice, and Mr. H. Leslie's pretty ballad, "Oh, let me sing to thee." Mr. Sloper performed Sterndale Bennett's fourth concerto, and Chopin's andante and polonaise, displaying, in both pieces, his talents as one of the most accomplished pianists of the day. Madame Persiani, who has returned after an absence of seven years, and sings as charmingly as ever, sang the romance " Vanne disse al figlio mio," from Robert le Diable; the air "Prendi per me," from the Elisir d'Amore; and, with Miss Amy Dolby, who sustained her part very sweetly, Mozart's duet, "'Sull'aria," from Figaro. Belletti sang "Di militari onori," 'from Jessonda, and "Bella siccome un Angelo," from Don Pasquale. Sims Reeves sang a duet with Belletti; but when he should have sung his air from the Freischütz, an apology was made for him on the score of indisposition. The attractions of this admirable concert were completed by two solos on the violin, most exquisitely played by Ernst. (Daily News, Monday, 12 June 1854)

MISS DOLBY AND MR. L. SLOPER'S CONCERT - Miss Dolby and Mr. Lindsay Sloper gave their annual concert at the Hanover-square Rooms yesterday week. We need not dilate upon the great merits of these universally celebrated artists - two of the best that England has produced. Their joint invitation always brings together one of the largest audiences of the season, and it met with as extensive an acceptance on the present as on any previous occasion. Every corner of the room was filled, and the programme, admirable in almost every respect, could not fail to increase the fame of the concert-givers. (The Lady's Newspaper & Pictorial Times, Saturday, 17 June 1854)

Miss Dolby and Mr. Lindsay Sloper's Grand Morning concert. The union of two names like the above is almost a guarantee for a good programme and a well-executed concert. The classical taste, as well as the good faith of Miss Dolby and Mr. Lindsay Sloper are such that, when they announce a grand concert, we are sure something better than a succession of trashy Italian operatic scenes, accompanied by the pianoforte, will be the result. On the present occasion the services of the best orchestra in London-that of the Orchestral Union-were called into requisition ; the soloists were some of the most eminent in the profession, native as well as foreign; and the music performed was mostly of far greater interest than that generally introduced at benefit concerts. Among the pieces worthiest of note were Sterndale Bennett's exquisite pianoforte concerto, No. 4, beautifully played by Mr. Sloper, and accompanied with great precision and delicacy by the orchestra; an interesting Scena ed aria from the Brides of Venice, which took us back to days when when English opera occupied a larger share of public attention than at present; Spohr's glorious song from Jumada, as gloriously sung by Signor Belletti; Herr Ernst's Allegro pathetique, which, though rather too long, displayed to great advantage all the fine qualities of his execution ; a fantasia for voice and pianoforte, entitled The Lady and the Nightingale, the poetry by Mr. Chorley-quaint and fanciful, yet well adapted for musical illustration : the music by Mr. Sloper-Sowing and expressive, if not strikingly original; and the performance divided between its composer and Miss Dolby, both of whom seemed contending for the credit of doing most for its success, and who, in the friendly contest, were so well matched that, while we praise both, we shall award the palm to neither ; and lastly, the famous quartet from Rigoletto, which, as may be supposed, was given with very good effect by Madame Persiani (whom we gladly welcome this season after a long absence), Miss Dolby, Mr. Sims Reeves, and Signor Belletti. Besides these, the overtures to Melamine, Zanetta, and Preciess were, we need not say how admirably, given by the small but thoroughly effective orchestra ; and the concert-whose only fault was its great length-appeared to give complete satisfaction to a numerous and select audience. (Atlas, Saturday, 17 June 1854)

CONCERTS OF THE WEEK. - We must return to two of last week's concerts for a paragraph. That of Miss Dolby (who sang her best) and Mr. Lindsay Sloper (who played well and had selected wisely his music) claims a word - not to speak of Mr. Sims Reeves, or of Signor Belletti, or of Herr Ernst, who also appeared, - but to remind students and amateurs of the remarkable value as model of another artist who assisted the concert-givers. We allude to Madame Persiani. This Lady is in capital voice, - as able, we should imagine, to sing on the stage, without over-work, as she ever was, and a more complete mistress of her art than formerly - if that could be. We never hear her without surprise, since her careful finish has the effect (like Pasta's) of seeming impulsive, and her and resource in ornament are beyond question and without limit. (The Athenaeum, Saturday, 17 June 1854)

Miss Dolby and Mr. Lindsay Sloper gave their annual morning concert, on Friday, the 9th instant, at the Hanover-Square Rooms. The Orchestral Union, under the direction of Mr. Alfred Mellon, was engaged, and the concert, on the whole, was one of the most attractive of the season. The vocalists, besides Miss Dolby, were Madame Persiani, Miss Amy Dolby, and Signor Belletti. An apology was made for Mr. Sims Reeves, who was absent on account of indisposition. Herr Ernst played twice on the violin. The Orchestral Union, under the direction of Mr. Alfred Mellon, executed Mendelssohn's overture to Melusine, Auber's Zanetta, and Weber's Preciosa - all three to perfection. Mr. Lindsay Sloper performed Sterndale Bennett's splendid Concerto, in F minor, No. 4, and Chopin's very original Andante Spianato and Polonaise, with orchestral accompaniments. The Concerto was played by Mr. Lindsay Sloper with that perfect neatness which is the characteristic of his style, and produced a sensible impression among the audience, which was principally composed of ladies. Nevertheless, there was no lack of applause, the comparatively few gentlemen present making amends in their zeal and energy for want of numerical force. Chopin's Polonaise, too, was admirably played, and loudly applauded. Madame Persiani is still the queen of florid singers, as she abundantly proved on Friday evening. She sang the romance from Robert Ie Diable, "Vanne disse al figlio mio" ("Va, dit-elle") - which, by the way, is not florid at all ; the aria, "Prendi per me," from L'Elisir d'Amore; and took part in the popular quartet from Rigoletto, and the duet - with Miss Amy Dolby-"Sull' aria," from Le Nozze di Figaro. The romance from Robert was charmingly given, and the aria from L'Elisir d'Amore was a display of execution, such as is rarely heard now-a-days on any stage or in any concert room. Miss Dolby sang the scena ed aria, "O memory, cease to grieve me," from Mr. Benedict's well known opera, The Brides of Venice - Mr. Benedict conducting the orchestra for the occasion; H. Leslie's new ballad, "Oh ! let me sing to thee ;" the "Lady and the Nightingale" of Mr. Lindsay Sloper; and the contralto part in the quartet from Rigoletto. Miss Dolby was in fine voice, and sang with equal facility and expression. Herr Ernst produced an immense effect in his two pieces - the Allegro Pathetique of his own composition - one of the most difficult, and at the same time most interesting morceaux ever written for the violin - and his own fantasia on the Airs Hongrois. Signor Belletti, among other things, sang the grand air from Jessonda, "Di Militari Onori," and Malatesta's comic air from Don Pasquale. (The Musical world, Saturday, 17 June 1854)

Friday, 23 June 1854 : Mr. Julius Benedict's Grand Annual Morning Concert at Royal Italian Opera, Covent-Garden.

ROYAL ITALIAN OPERA, Covent-Garden. 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, and her Royal Highness the Duchess of Cambridge. - Mr. BENEDICT has the honour to inform the nobility and gentry that his GRAND ANNUAL CONCERT will take place at the Royal Italian Opera, Covent-Garden. on FRIDAY MORNING, June 23. to be supported by the eminent Artistes, and the Band and Chorus, of that great lyrical establishment, including the services of Madame Grisi ; being one of her farewell performances in England . Madlle. Angelina Bosio, Madlle. Marai, Madlle. Albini,, Madlle. Marie Cruvelli (her first appearance at the Royal Italian opera). Madlle. N. Didiee, and Madame Viardot. Signor Tamberlik, Signor Lablache, Signor Roncom, Signor Luchesi. Signor Tagliafico, Signor Fortini. Signor Stigelli, Signor Susini. Signor Polonini. Mons. Zelger. and Signor Mario. In addition to the above artistes of the Royal Italian Opera, the following ladies and gentlemen have most kindly offered their valuable services: - Madame Clara Novello. Miss Louisa Pyne, Miss Dolby, Miss A. Goddard. Signor Belletti, Mr. Lindsay Sloper, Herr Ernst, Signor Bazzini. M. Vivier, and Mr. C. Hallé. Conductor. Mr. Benedict. Prices of Admission:- Stalls, 1l. 1s., boxes - grand tier, 5. 5s.: pit tier, 3l. 3s.: first tier. 4l. 4s., second tier, 2l. 2s.; pit. 5s.; amphitheatre stalls, 5s. - Applications for boxes, stalls, and places, to be made at the box-office of the theatre, or of Mr. Benedict. 2, Manchester-square. (The Times, Thursday, 8 June 1854) (Also: Morning Post, Tuesday, 13 June 1854; Daily News, Tuesday, 13 June 1854; The Times, Wednesday, 14 June 1854.)

ROYAL ITALIAN OPERA, COVENT GARDEN.- 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, and Her Royal Highness the Duchess of Cambridge. Mr. Benedict has the honour to inform the Nobility and Gentry, that his Grand ANNUAL CONCERT will take place at the Royal Italian Opera, Covent Garden, on Friday Morning, June 23, to be supported by the Eminent Artistes and the Band and Chorus of that great Lyrical Establishment, including the services of Madame Grisi (being one of her farewell performances in England), Mdlle. Angiolina Bosio, Mdlle. Marai, Mdlle. Albini, Mdlle. Nantier Didiee, and Madame Viardot ; Signor Tamberlik, Signor Lablache, Signor Ronconi, Signor Luchesi, Signor Tagliafico, Signor Stigelli, Signor Susini, Signor Polonini, Monsieur Zelger, and Signor Mario. In addition to the above artistes of the Royal Italian Opera, the following ladies and gentlemen have most kindly offered their valuable services:- Madame Clara Novello, Miss Louisa Pyne, Miss Dolby, Signor Belletti, Monsieur Vivier, Miss Arabella Goddard, Mr. Lindsay Sloper, Mr. Benedict, Herr Ernst, Signor Bazzini, Signor Piatti, and Monsieur C. Hallé. Prices of admission - Stalls, £1 1s. ; Boxes, Grand Tier, £6 6s. ; Pit Tier, £3 3s.; First Tier, £4 4s.; Second Tier, £2 2s.; Pit, 5s.; Amphitheatre Stalls, 5s. Applications for boxes, stalls, and places, to be made at the Box-office of the Theatre, or of Mr. Benedict, 2, Manchester-square. (The Musical world, Saturday, 10 June 1854)

Mr. BENEDICTS CONCERT. On FRIDAY next, June 23, Mr. BENEDICT'S GRAND MORNING CONCERT will take place, and be supported by Madame Grisi ; being one of her farewell performances in England . Madlle. Angelina Bosio, Madlle. Marai, Madlle. Albini,, Madlle. Marie Cruvelli (her first appearance at the Royal Italian opera). Madlle. N. Didiee, and Madame Viardot. Signor Tamberlik, Signor Lablache, Signor Roncom, Signor Luchesi. Signor Tagliafico, Signor Fortini. Signor Stigelli, Signor Susini. Signor Polonini. Mons. Zelger. and Signor Mario. In addition to the above artistes of the Royal Italian Opera, the following ladies and gentlemen have most kindly offered their valuable services: - Madame Clara Novello. Miss Louisa Pyne, Miss Dolby, Miss A. Goddard. Signor Belletti, Mr. Lindsay Sloper, Herr Ernst, Signor Bazzini. M. Vivier, and Mr. C. Hallé. Conductor. Mr. Benedict. Prices of Admission:- Stalls, 1l. 1s., boxes - grand tier, 5. 5s.: pit tier, 3l. 3s.: first tier. 4l. 4s., second tier, 2l. 2s.; pit. 5s.; amphitheatre stalls, 5s. - Applications for boxes, stalls, and places, to be made at the box-office of the theatre, or of Mr. Benedict. 2, Manchester-square. (Morning Advertiser, Tuesday, 13 June 1854) (Also: Morning Post, Wednesday, 21 June 1854; Daily News, Tuesday, 20 June 1854; Morning Advertiser, Tuesday, 20 June 1854.)

ROYAL ITALIAN OPERA, Covent-Garden. 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, Her Royal Highness the Duchess of CAMBRIDGE. Mr. BENEDICT has the honour to inform the nobility and gentry that his GRAND ANNUAL CONCERT will take place at the Royal Italian Opera, Covent Garden, on FRIDAY next, June 23. 1854, to be supported by the eminent Artistes, and the Band and Chorus of that great lyrical establishment. To begin at half-past 1 o'clock precisely, and to terminate at 5 o'clock. PROGRAMME. Overture, "Euryanthe"- C. M. v. Weber. Quintetto, " Sento oh Dio" (Cosi fan tutte)- Mozart. Madame Novello, Madlle. Albini, Signor Luchesi, Signor Susini, and Signor Zelger. Cavatina, " Oh luce di quest' anima " (Linda)- Donizetti. Madlle Marai. Aria, "II mio tesoro " (Don Giovanni)- Mozart. Signor Tamberlik. Triple Concerto for three Pianofortes- T. S. Back. Messrs. Hallé Benedict, and Lindsay Sloper. Recitativo, ("E Susanna non vien." Aria, "Dove son" (Nozze di Figaro)- Mozart. Madame Clara Novello. ; Duo, "Dove vai" (Masaniello)- Auber. Signor Tamberlik and Signor Fortini. Cavatina, " Batti, batti " (Don Giovanni)- Mozart. Madlle. Bosio (violoncello obligato, Mr. Lucas). SELECTION FROM THE WORKS OF J. BENEDICT. Overture, (The Minnesinger). Rec. and Scena " Why do I love him still ?" " Oh, memory, cease to grieve me," (Brides of Venice) Miss Dolby. Concertino, Pianoforte. Miss Arabella Goddard. Duetto, On Styrian Melodies, "Siam nati su queste montagne" (I Montanari}. Madlle. Bosio and Signor Belletti (first time of performance). Ballad, "Scenes of my youth," French horn (Gipsy's Warning). Mons. Vivier. A Morning Song, Words by Barry Cornwall. Miss Louisa Pyne. Concertante for two Violins, with orchestral accompaniments, composed expressly for the occasion by Bazzini. Herr Ernst and Signor Bazzini. Aria, "Nacqui all' affanno" (Cenerentola)- Rossini. Madame Viardot. Duetto, "Si fiato in corpo avete" (Matrimonio Segreto)- Cimarosa. Signor Ronconi and Signor Lablache. Serenade (by general desire), "Com e gentil" (Don Pasquale) - Donizetti. Signor Mario. Duettino, "Tornami a dir che m'ami" (Don Pasquale) - Donizetti. Madame Grisi and Signor Mario. THE STABAT MATER OF ROSSINI. Introduction, Quartetto, and Chorus, " Stabat Mater." Madlle. Albini, Madlle. Didiee, Signor Luchesi, and Signor Polonini. Aria, "Cujus Animam." Signor Mario. Duetto, "Quis est homo." Madlle. Bosio and Madame Viardot. Aria, " Pro peccatis." Signor Belletti. Solo and Chorus, " Eia Mater." Signor Lablache. Quartetto, " Sancta Mater." Madlle. Marai, Madlle. Didiee, Signor Stigelli, and Signor Tagliafico. Cavatina, " Fac ut portem." Madame Viardot. Aria with Chorus, " Inflammatus." Madame Grisi. Quartetto, " Quando Corpus." - Madame Grisi, Madame Viardot, Signor Mario, and Signor Lablache. Final Chorus, "Amen." Conductor, Mr. BENEDICT. Prices of Admission :- Stalls, 1l. 1s., boxes - grand tier, 5. 5s.: pit tier, 3l. 3s.: first tier. 4l. 4s., second tier, 2l. 2s.; pit. 5s.; amphitheatre stalls, 5s ; amphitheatre, 2s 6d. Applications for boxes, stalls, and places, to be made at the principal librarians and music warehouses, and at the box-office of the theatre. (Morning Post, Friday, 16 June 1854)

MR. BENEDICT'S CONCERT. On Friday next, June 23. Mr. Benedict's Grand Morning Concert will take place, and be supported by Madame Grisi (being one of her farewell performances in England), Mesdlles. Angiolina Bosio, Marai, Albini, N. Didiee, Madame Viardot; Signori Tamberlik. Lablache, Ronconi, Luchesi, Tagliafico, Fortini, Stigelli, Susini, Polonini, Mario, and Mons. Zelger. In addition to the above artistes of the Royal Italian Opera, the following ladies and gentlemen have most kindly offered their valuable services: -- Madame Clara Novello, Miss Louisa Pyne, Miss Dolby, Miss A. Goddard, Signor Belletti, Mr. Lindsay Sloper, Herr Ernst, Signor Bazzini, M. Vivier, and M. C. Hallé. - Conductor, Mr. Benedict. - Prices of Admission: - Stalls, £1 1s.; Boxes, Grand Tier, £5 5s.; Ditto, Pit Tier, £3 3s.; Ditto, First Tier, £4 4s.; Ditto, Second Tier, £2 2s.; Pit, 5s.; Amphitheatre Stalls, 5s. Applications for Boxes, Stalls, and Places to be made at the Box-office of the Theatre, or of Mr. Benedict, 2, Manchester-square. (John Bull, Saturday, 17 June 1854)

MR. BENEDICTS CONCERT. To-morrow (FRIDAY), June 23, MR. BENEDICT'S GRAND MORNING CONCERT will take place, and be supported by Madame Grisi ; being one of her farewell performances in England . Madlle. Angelina Bosio, Madlle. Marai, Madlle. Albini,, Madlle. Marie Cruvelli (her first appearance at the Royal Italian opera). Madlle. N. Didiee, and Madame Viardot. Signor Tamberlik, Signor Lablache, Signor Roncom, Signor Luchesi. Signor Tagliafico, Signor Fortini. Signor Stigelli, Signor Susini. Signor Polonini. Mons. Zelger. and Signor Mario. In addition to the above artistes of the Royal Italian Opera, the following ladies and gentlemen have most kindly offered their valuable services: - Madame Clara Novello. Miss Louisa Pyne, Miss Dolby, Miss A. Goddard. Signor Belletti, Mr. Lindsay Sloper, Herr Ernst, Signor Bazzini. M. Vivier, and Mr. C. Hallé. Conductor. Mr. Benedict. Prices of Admission:- Stalls, 1l. 1s., boxes - grand tier, 5. 5s.: pit tier, 3l. 3s.: first tier. 4l. 4s., second tier, 2l. 2s.; pit. 5s.; amphitheatre stalls, 5s. - Applications for boxes, stalls, and places, to be made at the box-office of the theatre, or of Mr. Benedict. 2, Manchester-square. (Morning Post, Thursday, 22 June 1854) (Also: Daily News, Thursday, 22 June 1854; Morning Chronicle (1801), Thursday, 22 June 1854.)

ROYAL ITALIAN OPERA. That Mr. Benedict's concert is the concert of the season had full evidence yesterday. The Royal Italian Opera, where it was given, was filled to overflowing. Not a seat was to be had in any part of the house, and the practical compliment which is usually paid to an accomplished and highly-respected musician was not withheld now. The dimensions of Mr. Benedict's programme are always of the longest- his artists always of the best. The fact of the concert taking place at the Royal Italian Opera intimates that the singers belonging to the establishment were there. Even Grisi and Mario, who are commonly absent on these occasions, afforded their services, and added no little to the prestige of the undertaking. Besides the Italians, several of the best concert-room artists were engaged. Among them Madame Clara Novello, Miss Louisa Pyne, Miss Dolby, Miss Arabella Goddard, Herr Hallé, Mr. Lindsay Sloper, M. Vivier, Heir Ernst, and Signor Bazzini. The programme was of a miscellaneous character ; an agreeable miscellany, in short, of operatic popularities - of such things as the public have often heard before, but which they do not object to hear again and again. There were several encores bestowed on Mdlle. Bosio, Madame Viardot, Mario, and Miss Pyne, whose efforts excited the audience into a pitch of enthusiasm not often witnessed at a fashionable morning concert, where the visitors are principally ladies, influenced by the politest reserve. According to the annual rule of Mr. Benedict, he introduced, in the course of the morning, a brief act of his own composition, selected from the Minnesinger, the Brides of Venice, &c., including, also, a charming concertino for the piano-forte, which was played to perfection by Miss Arabella Goddard, The third part of the programme was devoted to Rossini's Stabat Mater, which was given solely by Mr. Gye's artists, Grisi being of course the principal female vocalist. Mr. Benedict conducted the concert, long as it was, throughout. He played, with Mr. Lindsay Sloper and Herr Hallé, in Bach's triple concerto, and experienced a warm personal ovation. Mr. Gye has announced another concert, of the same interesting and inviting class, to take place next Friday week, at which all the members of the Royal Italian Opera company will again appear. (The Standard, Saturday, 24 June 1854)

M. Benedict's Concert the Royal Italian Opera, yesterday, attracted immense crowd, principally composed of the fairer portion of the community. Besides the whole of the artists belonging to the establishment, there were present Madame Clara Novello, Miss Louisa Pyne, Miss Dolby, Miss Arabella Goddard, Herr Hallé, Mr. Lindsay Sloper, M. Vivier, Herr Ernst, and Signor Bazzini. With such an immense body of talent, the attraction could scarcely be less than what it was. The programme was of miscellaneous character; agreeable miscellany, in short, of operatic popularities of such things as the public have often heard before, but which they do not object to hear again and again. According to the annual rule of Mr. Benedict, he introduced, in the course of the morning, brief act of his own composition, selected from the "Minnesinger," the "Brides of Venice," &c, including, also, charming concertino for the pianoforte, which was played to perfection by by Miss Arabella Goddard. The third part of the programme was devoted to Rossini's Stubat Mater." (Globe, Saturday, 24 June 1854)

MR. BENEDICTS ANNUAL CONCERT. The first Morning Concert which has taken place for more than a year at the Royal Italian Opera was given by Mr. Benedict yesterday. The entire vocal force of the establishment, chorus and band included, were employed, and Mr. Benedict himself officiated as conductor. We remember on no former occasion, even when morning concerts were in greatest vogue at the Royal Italian Opera, seeing the theatre so full. Every seat was occupied, numbers were standing in the pit and lobbies, and many too glad to sit down on the stairs leading to different parts of the house. The announcement of Mr. Benedict's concert creates a stir every year among the fashionables in London; and this year, more than ever, the excitement to be present was general, since Mad. Grisi was to sing for the last time but one in a concert in London. The programme was divided into two parts; Part I. being a miscellaneous selection, and Part II. being devoted to Rossini's Stabat Mater. The first part opened with the overture to Euryanthe, which, under Mr. Benedict's admirable guidance, went as well as ever we heard it go. Among other things, Mdlle. Marai sang "Luce di quest' anima;" Mad. Bosio, "Batti, batti ;" Mad. Clara Novello, "Dove Sono ;" Mad. Viardot the rondo finale to Cenerentola (encored) ; Signors Ronconi and Lablache the comic duet, "Se fiato in corpo avete," from Il Matrimonio Segreto ; Signors Tamberlik and Fortini the grand duet from Masaniello, "O santo ardor di Patria ;" Big. Mario, "Com' e gentil," (encored) ; and Mad. Grisi and Sig. Mario the duettino, "Fornani a dir che m'ami," from Don Pasquale. Among the instrumental performances was Sebastian Bach's concerto for three pianos-executed with the utmost effect by Messrs. Benedict, Charles Hallé, and Lindsay Sloper. This was played last season at Mr. Benedict's concert in the Hanover-square Rooms, by Miss Arabella Goddard, Mr. Benedict, and Herr Ferdinand Hiller. It is always effective, and was remark ably so on the present occasion. A concertante, for two violins and orchestral accompaniments, the composition of Sig. Bazzini, was performed by Herr Ernst and the author. Anything more lengthy, tedious, and uninteresting we have rarely heard. The finest playing could not succeed in making it effective, or acceptable to an audience. The selection of Mr. Benedict's works was interesting and varied. It began with the brilliant and animated overture to his MS. opera, The Minnesinger, which was capitally played by the band. A recitative and scena from the Brides of Venice (the second opera of Mr. Benedict, produced at Drury Lane Theatre), well sung by Miss Dolby, were greatly admired. The sparkling "Morning Song" of Barry Cornwall, which Mr. Benedict has set so happily to music, sung with great spirit by Miss L. Pyne, was encored; and the same compliment was bestowed upon a pretty and florid duet, founded on Styrian melodies - "Siam nati su queste montagne" (in the Styrian dialect), which was executed with remarkable fluency by Mdlle. Bosio and Signor Belletti. The most striking feature of the Benedict selection, however, was the clever and effective concertino, in E flat, for pianoforte and orchestra, which was played to perfection by Miss Arabella Goddard, and accompanied in first-rate style by the band. Miss Goddard was cordially received, and, at the end of the performance, applauded with enthusiasm. The only fault of the selection from Mr. Benedict's compositions was its brevity. Another "feature" of the concert was M. Vivier's plaintive and beautiful romance, "Une plainte," which Mad. Viardot sang with touching expression. The horn obbligato part, which gives peculiar and charming a colour to the whole, was played by M. Vivier himself, who appeared for the first time this season. His tone is as mellow and powerful as ever, and his playing as remarkable for grace and expression. The pianoforte accompaniment to the romance was ably performed on the harp by Mr. Trust. The romance was quite appreciated by the audience, and warmly applauded. The Stabat Mater of Rossini was performed entire: Mdlle. Albini, Miss Dolby, Mad. Bosio, Mad. Grisi, Mad. Viardot, Signors Mario, Luchesi, Belletti, and Lablache taking the solo parts. With such an ensemble, it need scarcely be said that the fullest justice was done to Rossini's very popular and very over-estimated work. The "Swan of Pesaro" was not intended for the church, and is out of his element in the sacred style. The pieces which pleased most were "Cujus animam" (Sig. Mario), the duet, "Quis est homo" (Mad. Bosio and Mad. Viardot), "Videt suum," with chorus (Sig. Lablache), "Fac me verum" (Mad. Viardot), and "Inflammatus et accensus," with chorus (Mad. Grisi). Nevertheless, the whole was well done, and the audience were delighted. (The Musical world, Saturday, 24 June 1854)

MR. BENEDICTS CONCERT. The annual concerts of Mr. Benedict have long been celebrated as extraordinary assemblages of musical celebrities of every denomination; and that given on Friday morning last, at the Royal Italian Opera, was in no respect inferior to those of former years. The programme included all the principal vocalists - together with the band and chorus of Mr. Gye's great establishment - whilst to these were added the following eminent performers: -Madame Clara Novello, Miss Louisa Pyne, Miss Dolby, Signor Belletti, Miss Arabella Goddard, Herr Ernst, Signor Bazzini, M. Vivier, Herr Hallé, Mr. Lindsay Sloper, and Mr. Benedict, who appeared on the occasion as composer, conductor, and pianist. The concert opened with Weber's well-known overture to "Euryanthe," which, though played with remarkable spirit and precision, did not produce the desired effect, owing to the band being placed upon the stage - a very injudicious arrangement, the unhappy influence of which was felt throughout the morning. Immediately after the overture, Donizetti's "O Luce di quest' anima," was sung with appropriate brilliancy, finish, and vivacity, by Madlle Marai. This was succeeded by Auber's duet, "O Santo ardor," the tenor part being rendered as usual by Signor Tamberlik with great physical power and heroic spirit. His coadjutor, however (Signor Fortini), left rather too much to the imagination. Then came one of the grand events of the morning, namely, the execution of Bach's concerto for three pianofortes, by Messrs. Hallé, Benedict, and Lindsay Sloper. As we object upon principle to any meddling with the works of the great masters, we cannot, of course, approve of the additional accompaniments introduced on this occasion, although cleverly written (we believe) by Moscheles, as the substitution of one movement for another (although both were by the same author), which we also remarked where the original finale which should have been given, was displaced by one appertaining to a different work. To the performance, however, we can award unqualified praise. The three eminent pianists vied with each other in doing justice to the classic strains of the most scientific of musicians, and the general result was as admirable as to relieve us from the injudicious task of selecting any one of the executants for special eulogy. They all made original cadences, written for the occasion, each pianist having composed one for himself. Mr. Sloper's came first, then Mr. Benedict's, and finally that of Mr. Hallé, who aimed, and with considerable success, at giving a short summary of all that had gone before. We need scarcely observe that his predecessors were obliged to avoid everything like a climax, and that their flights of fancy - were necessarily of a merely progressive character, and, consequently) circumscribed; but they certainly left Mr. Hallé no easy work to do; and we are gratified at being enabled to add, that he did it like a true musician. Bach's grand and learned music made, however, but little impression upon the audience, chiefly composed of ladies, who would, doubtless, have derived much more pleasure from a modern fantasia upon popular airs, or some such "brilliant" production. After this, we had in succession three pieces by Mozart ; "Dove sono," which served to display Madme. Novello's lovely voice to great advantage ; " Il mio tesoro," finely sung by Signor Tamberlik ; and "Batti Batti," which was chastely and sweetly rendered by Madlle. Bosio, the violoncello obligato being tastefully played by Mr. Lucas. A short selection from the compositions of Mr. Benedict followed. This consisted of his dramatic and brilliantly instrumented overture to the "Minnesinger," a scena from the same opera, " Why do I love him ?" delivered with great skill and musicianly feeling by Miss Dolby; a concertino for piano exquisitely executed by Miss Arabella Goddard; a quaint duet on Styrian melodies! : (originally written for Jenny Lind and Belletti), admirably sung by Madlle. Bosio and Belletti, and " A Morning Song " charmingly rendered by Miss Louisa Pyne. Of all these compositions the concertino is the best in every respect, and will doubtless live as a happy illustration of the musical period to which it belongs. Miss Goddard's performance of this delightful composition could not be too highly eulogised, for it was perfect both in mechanism and expression. The duet and song belonging to this selection were unanimously redemanded. We have now to speak of a very pretty and original romance, called " Une Plainte," composed by M. Vivier, the celebrated horn player (who executed the corno obligato attached to it), and sung with appropriate sentiments by Madame Viardot. M. Vivier introduced his new effects, consisting of octaves and fifths (not consecutive ones, be it understood), the tremalando, glidings, &c, with perfect success. This gentleman not only does things on the horn which no other player has ever accomplished, at least so thoroughly, but also surpasses all his contemporaries in beauty of tone and style. His cantabile is beautiful. He has the art of gliding from note to note in perfection ; his expression, though always animated, and at times highly impassioned, never runs into rankly ludicrous excess, and his intonation, even in the most extraordinarily difficult passages, remains invariably correct. We should add that M. Vivier accomplishes all his wonders, and works all his charms, with the ordinary French horn, and despises the mechanical contrivances of the more modern and easier, but less beautiful valve horn. M. Vivier's piece was followed by a clever concertante duet for two violins, composed by Signor Bazzini, and admirably executed by the author and Herr Ernst, whose skill it served to display to great advantage. A succession of vocal performances by Madame Grisi, Madame Viardot, Signori Mario, Roncom, and Lablache, brought us delightfully to the end of the first part of the programme; but as most of the pieces have been beard a hundred times from the same inimitable artistes, we need say, no more than that the latter were all in excellent voice, and sang in their best manner. The entertainment concluded worthily with Rossini's "Stabat Mater," the principal parts in which were admirably sustained by Madame Grisi, Madame Viardot, Madlle. Marai, Madlle. Bosio, Miss Dolby, Madlle. Albini, Signori Mario, Belletti, Stigelli, and Lablache. The house was crowded in every part. (Morning Post, Monday, 26 June 1854)

MR. BENEDICT'S CONCERT. The grand annual concert of the eminent professor and composer, MR. JULES BENEDICT, came off at the Royal Italian Opera on Friday morning. Concerts at the Covent-garden Theatre have been of rare occurrence for a long period, the only one given for four years - if we remember right - being that of Mrs. ANDERSON, the pianist, which took place last season. Last year Mr. BENEDICT'S concert was held in the Hanover-square Rooms, which, however, was found much too small to accommodate his numerous friends and admirers. Of course, the attractions of Mr. BENEDICT'S concert on Friday far surpassed those of last season. The entire of the Royal Italian Opera company, vocal and instrumental, assisted; while the services of Madaille CLARA NOVELLO, Miss LOUISA PYNE,, Miss DOLBY, Signor BELLETTI, Herr ERNST, Signor BAZZINI, Mr. LINDSAY SLOPER, Mr. C. HALLE, Miss ARABELLA GODDARD, and M. VIVIER, the renowned horn-player, were also retained. The programme was of great length, and extremely well adapted to please the aristocratic audience which had assembled at the Royal Italian Opera on Friday afternoon. The first part was devoted to a miscellaneous selection. The second part comprised Rossini's Stabat Mater - a work totally abnegated by the classicists, but held in high esteem by such as, perceiving at a glance great beauties, are content to accept them, and receive pleasure from them, without at all entering into abstruse inquiries concerning their merits, or troubling themselves about their propriety and fitness of place. What SPOHR said of Rossini's Stabat Mater, seems to account for this antagonism of sentiment:-"It is good music, but not good music for the church." However, as ROSSINI composed his Stabat Mater with a view to the concert-room rather than the church, the predominance of the profane over the secular in the music should find some extenuation from the critic. The work abounds in undeniable beauties, and has always proved a great source of attraction when produced in Paris or London. It is, in our opinion, nothing the worse for not being a servile imitation of the old masters of sacred writing, whom every modern composer of that class of music imitates, as if devotional feeling and its illustration should have but one phase and one exponent. To mention the morceaux in detail would occupy too much space. The remarkable performances in the first part were, Madame CLARA NOVELLO'S "Dove Sono," sung with infinite purity and taste; Madame VIARDOT'S rondo finale, from Cenerentola, encored unanimously ; Miss ARABELLA GODDARD'S Concertino, by Mr. BENEDICT, executed with wonderful ease and ability and unrivalled brilliancy, "A Morning Song" of Mr. BENEDICT'S, by Miss LOUISA PYNE, encored ; and a romanza, " Une Plainte," by M. VIVIER, sung by Madame VIARDOT. and accompanied on the horns by the composer. M. VIVIER is allowed to be the greatest horn player in the world. His tone and expression are quite unapproachable, as was amply shown in his exceedingly charming and thoroughly entertaining romance ; while his method of producing three or four notes at a time is a feat in instrumental dexterity never yet equalled by any performer. To many, however, his clear, pure tone, unerring intonation, and the perfect quietude and simplicity of his style, will afford more delight than the wonders of his execution. M. VIVIER who made his first appearance this season in public, was received with the great favour due to his distinguished talents. A selection from Mr. BENEDICT's own works was included in the first part. This consisted of the overture to the Minnesinger; a song from the Brides of Venice, sung by Miss DOLBY, a pianoforte concertina, played by Miss ARABELLA GODDARD, alluded to before ; "A Morning Song," by Miss LOUISA PYNE, as above; and a duet (MS.), called " The Mountaineers,' by Madame Bosio and Signor BELLETTI, a highly characteristic composition, and encored with acclamation . Signor MARIO sang his popular " Come e gentil," and the [sic] and Mme. GRISI joined in the duettino from Don Pasquale, "Tornami a dir." We have heard the Stabat Mater go much better. The pieces were not well distributed, and one or two were by no means satisfactorily given. Miss DOLBY was substituted in the contralto parts for Mme. NANTIER DIDIEE, for some reason not assigned. Signor MARIO sang the "Cujus animam," but resigned his accustomed post in the two quartets to Signor LUCHESI. Mme. VIARDOT sang the contralto air "Fax ut vere," which would have been a most delightful performance but for an ill-placed and badly executed cadenza she introduced in the reprise to the theme. The majority of the audience remained to the end. Mr. BENEDICT conducted the entire of the music, vocal and instrumental. (Morning Chronicle (1801), Monday, 26 June 1854)

MR. BENEDICTS CONCERT. The annual morning concert of Mr. Benedict took place on Friday at the Royal Italian Opera. The entire company, together with the chorus and orchestra, were engaged in the performance; and the programme was one of great variety and popular interest. Among other things the whole of Rossini's Stabat Mater was presented, and with almost unprecedented effect as far as the principal singers were concerned. Madame Grisi sang the "Inflammatus et accensus " Madame Viardot Garcia, the "Fac me vere," Signor Belletti, the " Pro peccatis;" Signor Mario, the "Cujus Animam ;" and Signor Lablache, the " Videt suum dulcem natum; " while the duet, " Quis est homo?" was allotted to Madame Bosio and Madame Viardot, and Mesdemoiselles Marai and Albini, Miss Dolby, Signors Luchesi, Stigelli, Polonini, and Tagliafico, added to the strength of the ensemble in the introduction, and the quartet "Sancta Mater." A more perfect execution of what is esteemed the sacred masterpiece of Rossini was probably never heard. The chorus and orchestra under the direction of Mr. Benedict, who conducted the entire concert, were all that could be desired. The Stabat Maier occupied the whole of the second part. The principal feature in the first was a short but well-varied selection from Mr. Benedict's own compositions, beginning with his brilliant and dramatic overture to The Minnesinger-an opera in MS. and hitherto unperformed, although, we believe, completed some years ago. A recitative and scena from another opera - The Brides of Venice (produced a long time since, during the reign of Mr. Bunn at Drury-lane Theatre) - was extremely well sung by Miss Dolby; and a charming musical setting of Barry Cornwall's "Morning Song" was given with such spirit by Miss Louisa Pyne that it was encored. A similar compliment was paid to a duet on Styrian national airs, "Siam nati su queste mortagne" (in the Styrian dialect), a florid though tuneful composition, which was sung with great fluency by Mademoiselle Bosio and Signor Belletti. A concertino in E flat, for pianoforte and orchestra, one of Mr. Benedict's most able and effective works of this class, full of brilliant passages and written with a thorough knowledge of the capabilities of the principal instrument, was received with distinguished favour. The pianoforte part was sustained with consummate talent by Miss Arabella Goddard, whose faultless mechanism was displayed to great advantage in the traits de bravoure, while the cantabile phrases were delivered with a refined taste and mellowness of tone that left nothing to be wished for. The orchestral accompaniments, which are extremely ingenious, were executed with great delicacy and point by the band; and the performance altogether was one of the most satisfactory in the whole programme. A little more of Mr. Benedict's music would have been acceptable at his own concert; but where a host of Italian singers were included in the programme, a proportionate quantity of popular Italian music was inevitable. The miscellaneous part of the entertainment comprised a variety of vocal music, which was sung with more or less effect by Madame Clara Novello, Mademoiselle Marai, Madame Viardot, Madame Grisi, Signors Mario, Tamberlik, Fortini, Ronconi, and Lablache. Among these, the greatest sensation was produced by Signor Mario in his popular "Com' e gentil," which was encored; by Madame Viardot, in the rondo finale from Cenerentola, which was complemented in the same manner; and by Grisi and Mario, together, in the well-known duet, "Tornami a dir," which was sung to perfection. One of the gems of the concert was a romance entitled "La plainte," composed by M. Vivier, and sung with exquisite pathos by Madame Viardot, the accompaniment for horn obligato, which imparts so new and peculiar a colouring to it, being performed by M. Vivier himself with a softness of tone and a purity of intonation not to be surpassed. There were two other instrumental pieces - Bach's concerto in D, for three pianofortes, played with admirable precision by Messrs. Benedict, Charles Hallé, and Lindsay Sloper-and a very lengthy concertante for two violins, the composition of Signor Bazzini, accompanied by the orchestra, and performed by Herr Ernst and the composer. The band played Weber's fine overture to Euryanthe, so well that it was to be regretted they had nothing else to do. The concert gave the utmost satisfaction to one of the most crowded and fashionable audiences ever assembled within the walls of the Royal Italian Opera. (The Times, Monday, 26 June 1854)

Did it please M. Benedict - who does not appear averse to falling in with the concert-fashions of our day - to be his own critic, annotator, and panegyrist, while printing in his own programmes his own admiration thereof, we might have had a book to review yesterday week - not a pamphlet, - so multitudinous were the attractions and varieties of his Concert, which was given in Covent Garden Theatre. To an act of miscellaneous music, - including Bach's triple Pianoforte Concerto, arranged from two Concertos by M. Moscheles, and performed with cadenzas, produced for the occasion by MM. Benedict and Hallé, and Mr. L. Sloper, - succeeded an act of M. Benedict's own compositions. Among these must be mentioned his overture to the 'Minnesinger,' one of the most graceful and picturesque concert-overtures of modern time, - his Concertina for the pianoforte, capitally played by Miss Goddard, - his piquant duett, 'Gli Montanari,' sung by Madame Bosio and Signor Belletti, and encored, - and the 'Lark Song," written for Madame Sontag (also encored). To this, Miss Louisa Pyne, by her more acutely toned voice, gave a greater effect than its original representative. - Then came a further miscellaneous selection, in which the honours belonged to Madame Viardot ; whose 'Cenerentola' rondo, with new changes and embroideries (also encored), was one of the most brilliant pieces of execution ever exhibited in London. This Lady is gaining in nerve and in care, in voice and in popularity; and after some seasons of high public approval on the part of all best worth pleasing, now bids fair to enjoy some seasons of that more universal enthusiasm which genius like hers will always command sooner or later in England. To return to M. Benedict's Concert:- as if the above attractions were not more than suf?cient, - somewhere about the hour when Fashionable un-Common Sense would have been glad to be released from music in order to enjoy its "Dancing Tea," or evening ride in the park - before dinner ! - the 'Stabat Mater' of Rossini "set in," and was performed entire; with Signor Mario to sing the 'Cujus animam,' and Madame Grisi the ' In?ammatus,' almost for the last time. We have in the above hardly named half of the artists who appeared. - To speak of the in?uence of such enormous gatherings on Art and public exhibition would be lost labour; since Fashionable un-Common Sense aforesaid throngs to them; and so long as this is the case, there will be found caterers, even among skilled musicians like M. Benedict, who follow, where they might, in some measure, lead, its taste. (The Athenaeum, Saturday, 1 July 1854)

Signor Benedict's Grand Annual Concert sustained its usual reputation for being one of the most prominent of the season. The programme included the first musical names:-Mesdames Grisi, Clara Novello, Viardot, Bosio, Marai, Albini, Didiee, Louisa Pyne, Dolby, and Arabella Goddard; Signori Lablache, Belletti, Mario, Ronconi, Tagliafico, Polonini, Stigelli, Tamberlik, Fortini, Ernst, Bazzini, Vivier, Lucas, Hallé, and Lindsay Sloper, the two latter gentlemen taking part with Mr. Benedict in Bach's Triple Concerto for three pianofortes. (Musical Times, Saturday, 1 July 1854)

M JULES BENEDICT'S CONCERT. - This talented professor, and composer gave his annual concert on Friday week at Covent-garden. The entire of the. Royal Italian Opera company, vocal and instrumental, assisted; while the services of Madame Clara Novello, Miss Louisa Pyne, Miss Dolby, Signor Belletti, Herr Ernst, Signor Bazzini, Mr Lindsay Sloper, Mr C. Hallé, Miss Arabella Goddard, and M Vivier, the renowned horn player, were also retained. The programme was of great length, and extremely well adapted to please the aristocratic audience which had assembled at the Royal Italian Opera on Friday afternoon. The first part was devoted to a miscellaneous selection. The second part comprised Rossini's "Stabat Mater." To mention the pieces in detail would occupy too much space. The remarkable performances in the first part were Madame Clara Novello's "Dove Sono," sung with infinite purity and taste; Madame Viardot's rondo finale, from Cenerentola, encored unanimously; Miss Arabella Goddard's concertino, by M Benedict, executed with wonderful ease and ability and unrivalled brilliancy; "A Morning Song" of M Benedict's, by Miss Louisa Pyne, encored ; and romanza "Una Plainte," by M Vivier, sung by Madame Viardot, and accompanied on the hon by the composer. M Vivier is allowed to be the greatest horn player in the world. His tone and expression is quite unapproachable, as was amply shown in his exceedingly charming and thoroughly unpretending romance; while his method of producing three or four notes at a time is feat in instrumental dexterity never yet equalled by any performer. To many, however, his clear, pure tone, unerring intonation, and the perfect quietude and simplicity of his style, will afford more delight than the wonders of his execution. M Vivier, who made his first appearance this season in public, was received with the great favour due to his distinguished talents. The concert was conducted by M Benedict, and the house was crowded. (Bell's Life in London and Sporting Chronicle, Sunday, 2 July 1854)

Friday, 8 September 1854 : Mr. Harrison's Grand Evening Concert at Town Hall, Birmingham.

TOWN HALL, BIRMINGHAM. MR. HARRISON has the honour to announce that he will give a GRAND CONCERT on FRIDAY EVENING, September 8, 1854, for which occasion he has succeeded in securing the services of the following eminent Artistes: - MADAME CLARA NOVELLO, MRS. SIMS REEVES, MADAME WEISS, MADLLE. CECILIA MARES, MR. WEISS. AND MR. SIMS REEVES. Solo Pianist and Conductor, Mr. LINDSAY SLOPER. Admission.-Reserved Galleries, 6s.; Family Tickets to admit four, 21s.; Reserved Floor, 4s.; Unreserved Great Gallery, 2s.; Floor and Orchestra, 1s. Books of the Words, Sixpence each. The Plans of Reserved Seats will be opened at Mr. Harrison's Music Establishment Colmore-row, on Thursday next the 31st inst., at Ten o'clock. Arrangements are made for securing Seats for parties residing at a distance, by their remitting the amount for the number required, to Mr. Harrison (Post Office Orders payable to Thomas Harrison). Tickets for Unreserved Seats to be had at the Music Warehouses of Mr. Tolkien, New-street; Messrs. Sabin, Bull-street; of Mr. Tonks, 85, New-street; Mr. Allen, 3, Colmore-row; Mr. Baker, Snow-hill; and at Mr. Harrison's Colmore-row. To prevent disappointment, an early application is respectfully requested, as money will not be taken at the doors. Carriages with Parties for the Galleries to set down and take up in Paradise-street, with the horses' heads towards Broad-street; and for the Floor, in Congreve-street, towards Edmund-street. The doors will be opened at Seven o clock, and the Concert commence at Eight. (Birmingham Gazette, Monday, 28 August 1854)

Sunday, 15 October 1854 : Norfolk And Norwich Eleventh Musical Festival's Evening Concert at St. Andrew's Hall, Norwich.

1854. THE NORFOLK AND NORWICH ELEVENTH Musical Festival, IN AID OF THE FUNDS OF THE Principal Charities in the County of Norfolk and City of Norwich, On TUESDAY, WEDNESDAY, THURSDAY. and FRIDAY, The 12th. 13th, 14th, & 15th of Sept., 1854. ST. ANDREWS HALL. Patron: HER MOST EXCELLENT MAJESTY THE QUEEN. Principal Vocal Performers: Madame ANGIOLINA BOSIO, Madame CLARA NOVELLO, Madame ANAIDE CASTELLAN, Madame WEISS and Miss DOLBY. Signor GARDONI, Herr REICHARDT & Mr. SIMS REEVES Signor BELLETTI, Mr. WEISS and Signor LABLACHE. Instrumental Solo Performers : Violins. M SAINTON, Violinist to her Majesty, Mr R. BLAGROVE Violoncello, Herr HAUSMANN. The Entire Band will consist of FOUR HUNDRED PERFORMERS. Conductor, Mr. BENEDICT On Tuesday Morning, Sept. 12th, ROSSINI'S, STABAT MATER. Part II. Selection of Sacred Music, And (for the First Time), THE NINETY-FIRST PSALM. For Voices only, Composed by Meyerbeer. The Solos by Madame CLARA NOVELLO, Miss DOLBY, Mr. SIMS REEVES, and Mr. WEISS. On Tuesday Evening, Sept. 12th, MISCELLANEOUS CONCERT Part I. and II. Handel's Serenata, ACIS & GALATEA. With (for the First Time in Norwich) Mozart's additional accompaniments. Acis-Mr. SIMS REEVES Damon-Signor GARDONI Polyphemus-Signor BELLETTI Galatea-Madame CLARA NOVELLO. Part III. Overture-(Leonora) Beethoven. Aria-"Entendez vous"-Madame CASTELLAN-(Le Concert à la Cour, Auber. Fantaisie Caprice-Violin, Mr. BLAGROVE Vieuxtemps. Quintetto-"Di serivermi ogni giorno"-Madame CASTELLAN, Miss DOLBY. Signor GARDONI, Mr. WEISS, and Sig. LABLACHE -(Cosi fan tutte) Mozart. Romance-"Oh, she is fair"- Herr REICHARDT Viola Obligata, Mr. HILL-(Les Huguenots) ) - Meyerbeer. Aria-" Ernani involami"-Madame BOSIO -(Ernani) Verdi.. Quartetto (Unaccompanied) "Noble Chatelaine" -Signor GARDONI, Herr REICHARDT, Mr. WEISS, and Signor LABLACHE -(Le Comte Ory) - Rossini. Duetto -" Da quel di"-Madame CASTELLAN and Mr. SIMS REEVES-(Linda), Donizetti. Ballad-" Oh ! let me sing to thee"- Miss DOLBY - H. Leslie. Duetto-"Signorina in tanta fretta" Madame BOSIO and Signor LABLACHE-(Don Pasquale) Donizetti. Air-" Rage thou angry storm"- Mr. WEISS Benedict. Finale-" Mi mance la voce"-Made. BOSIO, Madame WEISS, Signor GARDONI, Herr REICHARDT, Signor BELLETTI, Signor LABLACHE, and Chorus- (in Egitto) Rossini. On Wednesday Morning, Sept. 13th, BEETHOVEN'S SERVICE in C, THE CREATION. On Wednesday Evening, Sept. 13th, MISCELLANEOUS CONCERT Part I. Symphony-C minor Beethoven. Song-" When the evening bells are chiming"-(Son and Stranger)- Herr REICHARDT Mendelssohn. Duetto-" Son esse che giubilo"- Madame CLARA NOVELLO and Mr. SIMS REEVES Cugnoni. Aria " Ami alfine"-Madame BOSlO-(Coradino) Rossini. Fantasia Violoncello Herr HAUSMANN Hausmann. Duetto-" Un segreto" -Signori BELLETTI and LABLACHE -(Cenerentola) Rossini. Aria-" Quanto e bello"-Madame CASTELLAN-(Lucrezia Borgia) Donizetti. Madrigal-" Down in a flow'ry vale" C. Festa. Quartetto -" Was soli ich dazu sagen"-Madame CLARA NOVELLO, Miss DOLBY, Signor GARDONI and Mr. WEISS- (Martha) Flotow. Aria-" Ah! quel plaisir d'etre soldat"-Signor GARDONI-(La dame Blanche) Boieldieu. Trio-" Via da brava - Quartetto - "E rimasto" Madam BOSIO, Signori GARDONI, BELLETTI, and LABLACHE-Don Pasquale).. Donizetti. Fantasia-Voice and Pianoforte- "The Lady and the Nightingale" -Miss DOLBY, accompanied by the Composer Lindsay Sloper. Aria--"Sorgete"-Signor BELLETTI- (Maometto) Rossini. Song and Chorus-"Come if ye dare,"-Mr. SIMS REEVES- (King Arthur) Purcell. Part II. Selections from the Works of Weber and Spohr. Overture-(Freischütz) Weber. Aria-" Ah che i giorni"-Madame WEISS-(Alchymist) Spohr. Scena and Air -" Through the forest"-Mr. SIMS REEVES- (Freischütz) Weber. Introduction-" Cold and still"- Solos by Madame WEISS, MISS DOLBY, Mr. WEISS, & Chorus -(Jessonda) Spohr. Scena-" Softly sighs" -Madame CLARA NOVELLO-(Freischütz) Weber. Aria-" Di militari onori" -Signor BELLETTI-(Jessonda) Spohr. Air-" Von Jugend auf"-Herr REICHARDT-(Oberon) Weber. The Huntsman's Chorus -" What equals on earth"-( Freischütz)., Weber. National Songs - " O Bay of Dublin"-(Irish) "Over the Sea"- (Scotch) Miss DOLBY. Marche aux Flambeaux -(First time of performance) Meyerbeer. On Thursday Morning, September 14th, ELIJAH. On Thursday Evening, Sept. 14th MISCELLANEOUS CONCERT Part I. Symphony-(A major) Mendelssohn. Duetto - " O du Geliebte"-Mr. and Madame WEISS Nicolai. Rondo Mazurka, with Orchestral Accompaniments, Violin- M. SAINTON Sainton. Scena and Aria-" Ah non credea" Madame CASTELLAN (Sonnambula) Bellini. Quartetto-" Un di se ben rammentomi" Madame BOSIO, Miss DOLBY, Signori GARDONI, and BELLETTI-(Rigoletto) Verdi. Selections from the Works of J. Benedict. Overture (MS.) to Shakspeare's Play of "The Tempest." Recit. and Air-"I have obey'd"-Herr REICHARDT-(Gipsy's Warning.) Duetto-" Siam nati su queste montagne." -Madm. BOSIO and Signor BELLETTI-(I Montanari.) A Morning Song, words by Barry Cornwall-Madame CLARA NOVELLO. The Student's Glee-" Bless'd be the Home"- (Gipsy's Warning.) Romance-" Le chemin du Paradis," (with Orchestral Accompaniments by the Composer)-Signor GARDONI Blumenthal. Duetto-" Quanto amore"-Madame CASTELLAN and Signor LABLACHE-(L'Elisir) Donizetti. Aria - -"Qui la voce"-Madame BOSIO (I Puritani) Bellini. Song "I arise from dreams of thee,"-Mr. SIMS REEVES - Howard Glover. Scotch Songs-" Some Body," " Bonnie Prince Charlie,"-Madame CLARA NOVELLO. Ballad-(MS.) -" In distant lands" -Mr. WEISS H.W. Weiss. Grand March from "L'Étoile du Nord" Meyerbeer. Part II. Selections from the Works of Mozart. Overture-(Flauto Magico.) Aria "L'addio"-Miss DOLBY. Cavatina--" Dalla sua pace"-Mr. SIMS REEVES -(Don Giovanni.) Aria-"Non piu andrai"-Signor LABLACHE- (Nozze di Figaro.) Duettino-" Sull aria"-Madame CASTELLAN and Madame CLARA NOVELLO-(Nozzi di Figaro-"Con stanze"- Herr REICHARDT-(II Seraglio.) Cavatina " Deh vieni non tardar" Madame CLARA NOVELLO-(Nozze di Figaro). Duetto-" La ci darem" -Madame CASTELLAN and Signor BELLETTI-(Don Giovanni.) Cavatina-" Batti, batti"-Madame BOSIO. (Violoncello obligato, Herr HAUSMANN)-(Don Giovanni.) GRAND Finale to Act First-(Don Giovanni.) Morceaux d'Ensemble "Presto Presto" Madame CLARA NOVELLO, Madame WEISS, Madame CASTELLAN, Herr REICHARDT, Signori BELLETTI, and LABLACHE. and Mr. WEISS, Trio. "Proteggo o' giusto ciel" Madame CLARA NOVELLO, Madame WEISS, Herr REICHARDT. SETTIMINO AND CHORUS -''Venite pur avanti"- Madame CLARA NOVELLO, Madame WEISS, Madame CASTELLAN Herr REICHARDT Mr WEISS, Signori BELLETTI and LABLACHE - On Friday Morning, September 15th, MESSIAH. On Friday Evening, Sept. 15th, A DRESS BALL, AT THE ASSEMBLY ROOMS. REGULATIONS. All the Seats in the Patrons' Gallery will be reserved. For the accommodation of Visitors, the Committee will provide a limited number of Reserved Seats in the Area and Side Galleries. Parties desirous of securing these Seats for the first four Performances are requested to apply at the ticket Office, St. Andrew's Plain, Norwich, before two o'clock on Saturday, 9th September; and, for the last three Performances, before Two o'clock on Monday, the 11th September, stating; their names and number of places they will require for each Performance, at the same time paying for such places. To prevent mistakes, all Persons are particularly requested to see their names entered in the Ticket Book, and to take the printed memorandum of the same, signed by the Cashier. Each party's name will have a number prefixed in the Ticket Book ; the corresponding number will be placed in a ballot box, and the Seats will be consecutively assigned by the Committee to each number as drawn. Each Seat applied for in the first instance will be assigned by ballot, and no application will be attended to but those prepaid at the Office. If any Seats remain unappropriated after each ballot, Tickets for the same may be obtained at the usual Office the day before the Performance, for which the Tickets are required, and not afterwards. The ballot for the first Four Performances will take place in St Andrew's Hall, on Saturday, the 9th of September, at Three o'clock in the Afternoon; and the ballot for the last Three Performances will take place on Monday, the 11th September, at the same hour. The Tickets for the Reserved Seats for the first four Performances will be ready at the Ticket Office on Monday Morning, 11th September, at Eleven o'clock;, and for the last Three Performances on Wednesday Morning, and will be delivered on production of the printed memorandum. If any Patron should not be able to attend the Performance for which his Seat is reserved, the Ticket shall be available, should there be room in the Patrons' Gallery, for any subsequent Performance. Tickets of admission for all the Performances, to the Reserved Seats in the Area and Side Galleries, not transferable, will be issued at Three Guineas each. Tickets of admission to the Unreserved Seats, not transferable, to admit One Person to the Three Evening Performances, will be issued at One Guinea, and Family Tickets to admit Three Persons to the Unreserved Seats to any of the Evening Performances, will be issued at One Guinea. Every application for Reserved Seats will be attended to, as far as possible : but should the applications exceed the ability of the Committee to provide, the Committee reserve to themselves the right to return the money paid at the Office for such Seats. Tickets to the Patrons' Gallery, One Guinea To the Reserved Seats, in the Area and Side Galleries, Twelve Shillings and Sixpence. And to the rest of the Hall, Half-a-guinea. The Tickets will be issued from Saint Andrew's Plain, Norwich, and no other place. The Rooms will be Opened on Friday. September 8th, and Saturday, September 9th, and during the Week of the Festival. RAILWAY ARRANGEMENTS. Arrangements have been made with the Eastern Counties and Eastern Union Railways to afford every facility to strangers visiting the Festival. SPECIAL TRAINS will be provided from Yarmouth, Lowestoft, Fakenham and Cambridge, and all Intermediate Stations on the Eastern Counties Line ; from Ipswich. Colchester, Bury, and all Stations on the Eastern Union Line ; to arrive at Norwich at Ten o'clock, on Tuesday, Wednesday. Thursday, and Friday, the 12th. 13th, 14th, and 15th of September, and to depart from Norwich on the Tuesday, Wednesday, and Thursday Evenings, at 11 30, calling at such Stations as may be required. RETURN TICKETS taken on the Monday, Tuesday, Wednesday, and Thursday, will be available for the Return Journey any day up to and inclusive of Saturday, the 16th instant, from all the Stations on the Eastern Counties and East Anglian Lines, including Newmarket. Peterborough, Wisbeach, and Downham ; and all the Stations on the Eastern Counties Line. G. E. SIMPSON and ROGER KERRISON, Honorary Secretaries. (Norfolk Chronicle, Saturday, 19 August 1854) (Also: Norfolk Chronicle, Saturday, 9 September 1854; Norfolk News, Saturday, 9 September 1854.)

THE FESTIVAL. Although it is but two years since the tenth triennial Musical Festival was held in this city, the eleventh has just been given, in conformity with a very generally expressed wish by the Committees of the Festival and Choral Societies, held in the early part of the present year. The Great Exhibition of 1851, induced the Committee to make an interval of four years between the ninth and tenth Festivals, and we, on the last occasion, found no little inconvenience in consequence of two great meetings of a similar kind occurring at Birmingham and Norwich at the same time. For although there may not be any considerable number of visitors attracted from the northern counties to support our local charities, the difficulties are increased when making engagements of the highest available talent, and the sums demanded larger when there is, as it were, a kind of competition between the two Festivals. Holding the great musical meeting of the Eastern part of England in 1854, restores us to our original position: and as the public feeling was very unmistakeably expressed on the subject, the Managing Committee wisely determined to act in accordance with it, especially when it was so completely coincident with their own convictions. The next step was to call a meeting of the guarantees ; who expressed themselves very decidedly on the subject, and filled up a list containing the largest amount of money ever volunteered. The committee met, and at once intimated to Mr. Benedict that they hoped he would continue his invaluable services as Conductor, to which he consented. As soon as it could be ascertained that Madame Goldschmidt felt herself reluctantly obliged to decline her intended presence at this Festival, the Conductor at the earliest moment, endeavoured to secure the highest talent at this time in England ; and we feel that we may point to the list of distinguished names at the head of the programme, and challenge a comparison with any assemblage which could have been obtained. As vocalists we had Madame Clara Novello, Madame Bosio, Madame Castellan, Madame Weiss, Miss Dolby, Signors Gardoni, Lablache, Belletti, Mr. Sims Reeves. Herr Reichardt, and Mr. Weiss.- The principal solo performers were Mons. Sainton, Mr. H. Blagrove, and Herr Hausmann. The instrumental department comprised about 130 performers, which may be thus classified. First violins, Messrs. H. Blagrove, Sainton, Banister, Cooper, Cusins, Dando, Bray R. and 11 others; second violins, Watkins and Blagrove W., and 14 others ; alto violas, Hill, Blagrove R., Calkin, Goffrie, and 14 others; violoncellos, Hausmann, Hatton, and seven others; double basses, Howell, Flower Pratten. and seven others; flutes, Card W., Card E. (piccolo), and two others; oboes, Nicholson, Malsch, and two others ; clarionets, Lazarus, Maycock, and two others ; bassoons, Baumann. and three others ; horns, Harper C. and five others ; trumpets, Zeiss. Irwin, and two others; trombones, Smithies, Cioffi, Healy, and three others; ophicleides. Prospere, and Brighten ; drums. Chipp, Goodwin, and Seymour. The Chorus consisted of 80 trebles, 60 altos, 60 tenors, and 70 basses, comprising the Norwich Choral and Ladies Choral Societies, assisted by the Chorus of the Italian Opera and Exeter Hall, London., Without at all regretting that at the last festival the committee introduced two new Oratorios, one the production of a citizen, and the other from the hand of a musician, whose advancing fame indicates that a high position is ere long in store for him, we were glad to perceive no inordinate desire to introduce novelties, or to jeopardize the pecuniary results of the Festival by the selection of any other works than those of the highest reputation. Indeed until a somewhat late period there was not, we believe, a single piece which had not been performed before, and which had not become generally established. The prominent feature in the present Festival was clearly to give what would illustrate the style of composers of acknowledged eminence.- Thus we had for the mornings, Rossini's Stabat Mater, Beethoven's Mass in C, Haydn's Creation, Mendelssohn's Elijah, and Handel's Messiah. For the evening, we had Handel as an operatic composer, in the Serenata of Acis and Galatea, selections from the works of Weber, Spohr, Meyerbeer, Mozart, and Benedict The only novelty in the arrangements was the introduction of an additional concert on Tuesday morning-a time which had hitherto been appropriated to rehearsal. Mr. Benedict, in the kindest manner, and most disinterested spirit, offered to arrange a fourth morning, and to conduct it so that the experiment should not cost the Committee a shilling. He at once suggested the performance of a Psalm of his friend Meyerbeer, which had been entrusted to him to introduce into this country. The 91st Psalm, Rossini's Stabat Mater, with a selection from Spohr, Handel, Cherubini, and Stradella, formed the programme for the first performance. The arrangement met with an unusual share of approbation, and it was generally felt to be one of the best selections ever seen on an occasion of this kind. On Thursday, Friday, and Saturday last, there were rehearsals by Mr. Benedict, and on Monday the general rehearsal took place in St. Andrew's Hall, when every performer, whether vocal or instrumental, was required to attend. All the leading artistes were present -indeed so few absentees was never remembered. The pieces rehearsed were the Stabat Mater, Beethoven's Mass in C, the Ninety-first Psalm, selections from Spohr and Beethoven, the conclusion of the second part of Don Giovanni, besides several accompanied solos, &c. The Creation, Elijah, and Messiah were left to depend upon previous rehearsals, except the air "rejoice greatly" in the Messiah, which at the request of Madame Bosio, in consequence of her imperfect acquaintance with English accentuation, was " gone through." It was so delightfully sang that the orchestra applauded it for several minutes. TUESDAY MORNING. On this occasion a selection of sacred music was performed. The following was the programme:- part I. The National Anthem. Rossini's Stabat Mater. PART II. The 91st Psalm, for voices only, composed by Meyerbeer. Occasional Overture- Handel. Aria-"Gratias agimus"-Clarionet Obligato- Guglielmi. Air-" When this scene of trouble closes"-(Calvary)- Trio-" Jesus, heavenly Master"-(Calvary)- Spohr. Aria-" Se i miei sospiri"- Stradella. Aria-" O salutaris hostia"- Cherubini. Air-" As from the power of mighty lays"-Chorus-" The dead shall live"-(Ode to St. Cecilia) - Handel. The day was bright and warm, and the body of the hall and patrons' gallery well attended. The National Anthem, with which it has been a time-honoured custom to commence our Festivals, was, we regret to say, obliged to be postponed, inconsequence of the absence of Madame Clara Novello, to whom a solo had been assigned. It was, however, introduced at the end of the first part. The first verse was sung as a quartette by Mr. and Mrs. Weiss, Sims Reeves, and Miss Dolby ; the second, as a duet, by Reeves and Weiss, and the third as a solo by Clara Novello. It was a very excellent disposition of the music. The solo was most magnificently sung by Madame Novello; every note was clear and full, uttered without apparent effort, and she literally astonished the audience by her immense vocal power. For our own parts we prefer "God save the Queen" sung as it is written, and without the alterations introduced on this occasion ; the majestic simplicity of our national anthem is its greatest beauty, and it is no more improved by ornament, however expressive, as on the present occasion, than the lily would be by colour. Rossini's Stabat Mater commenced the Festival. The words which the distinguished composer has adopted have been used as a hymn in the Roman Catholic Church for centuries-certainly as early as the fourteenth. The principal allusions in the hymn are to the Virgin, who is supposed to be prostrate at the foot of the cross, almost overpowered with grief at the sufferings of the Saviour. Although unquestionably set to music at the time of its first forming part of Roman Catholic worship, we have no trace of any composer adapting it till the eighteenth century, when Pergolesi wrote some most touching and pathetic music to the words. Subsequently a long list of authors adopted the words, or portions of them, as themes for hymns and anthems, amongst them Haydn. Rossini's adaptation is evidently the work of a great musical genius, and although it may fairly be questioned whether the composition be not more of an operatic than of a sacred character-whether it would not more consistently form part of an evening rather than a morning performance,-still it is a production which the Festival Committee judiciously determined to perform entire as the leading feature of the first concert. The history of this delightful production is not a little interesting. Rossini was travelling in Italy in 1832, when through a friend he was informed that the Abbe de Varela was desirous of having a Stabat from his pen ; he wished him to sit down and compose one impromptu, offering at the same time to pay any sum of money for it he liked. Rossini, in two months, transmitted the score of a Stabat, and subsequently received from his ecclesiastical patron a gold snuff-box, worth 5000 francs, as an acknowledgment At the death of Father Varela, his executors sold the copy to a Parisian bookseller, who announced his intention to publish it; to this Rossini objected, on two grounds-first, because he had never sold the hymn-and secondly, because it was not finished, four or five of the concluding movements having been written by Signor Tadolini. And besides this, when originally written, Rossini only contemplated its being performed by a very small orchestra, and it was likely to damage his reputation in the eyes of the public, whom he had accustomed to the most elaborate instrumental accompaniments. A law-suit ensued, which terminated in favour of Rossini. The perfected and finished Stabat Mater was first publicly performed in 1812, in Paris. It was received with the utmost enthusiasm, and the receipts derived from it were the means of restoring the then decayed condition of the Italian Opera-house. Grisi, Mario, and Albertazzi were among the solo singers who took part in its first representations. Every subsequent year, whenever and wherever performed, its popularity has increased. Portions of it, we believe, have been done here at previous Festivals; Rubini and Mario sang " Cujus animam" in 1812, 1815, and 1818, to which on the latter occasion was added a duet by Madame Caradori Allan and Signora Pacini. Indeed Norwich was the first choral society out of the metropolis which attempted this most extraordinary composition after it had been introduced into London from Paris, where it had created quite a furore. It was always a favourite here, and on Tuesday morning was done entire. We are glad that it has been determined no longer to keep back this magnificent production in deference to conscientious, but over sensitive ultra-Protestant objections. The doctrines enunciated, or implied, are of course Roman Catholic, but if this is to be an effective bar, then we, to be consistent, must at once expunge all the masses of Mozart, Beethoven, Haydn, Hummell, &c, &c. An audience may listen to the adoration of the Virgin, and allusions to the punishment of purgatory, without believing in either of those most unscriptural inventions. And now for a few words upon the more noticeable portions of this version of the Stabat Mater. After the introduction and first quartette, in which there was nothing very striking, Sims Reeves sang the truly enchanting air " Cujus animam," a part for which his style is more adapted than Gardoni's would have been. Its effect was very much marred by the band, which frequently prevented the most effective passages being heard, even in the middle of the hall. Mr. Reeves sings this air in a more affecting and plaintive manner than did either Rubini or Mario ; he has an undoubted right to interpret it as he understands the composer's meaning, and it is for the instrumentalists to conform to his version. We are quite aware that the accompaniment to "Cujus animam" is written very full-everything, string, reed, and brass are all going-and therefore play it as piano as they can, it is difficult to keep it under with any less volume of voice than Rubini's; still, by reducing the number of instrumentalists, and other expedients, this desirable end might surely be attained. It cannot be too indelibly impressed on the mind of a band that an accompaniment ceases to be one when it predominates above the air, and that they may as easily ruin a composition as improve one. The duet "Quis est homo," is a chaste and elegant composition, and was very perfectly rendered by Madame Bosio and Miss Dolby. Miss Dolby is sufficiently well-known in Norwich to render it unnecessary for us to say that in a duet requiring to be elegantly, rather than powerfully sung - to have its accentuated passages carefully brought out - she would do it ample justice. Madame Bosio on the contrary, stood before a Norwich Festival audience for the first time, and was only known to those who had the rare treat of hearing her during the last Italian Opera season in London. She, from some cause or other, did not appear to any great advantage in this duet, and as her style is more brilliant than subdued, we had rather reserve any observation until she appeared in a part where she is more at home. We observed that in singing the key of this duet was transposed a semi-tone as well as an air sung by Miss Dolby, which was somewhat marred by excessive instrumentation. In other respects this duet was one of the most imposing portions of the Stabat Mater-the accompaniment was exquisitely brilliant, and we never remember to have heard a passage that pleased us more than when, on the fourth crotchet in the soprano part, the trombone and wind instruments assist in giving effect to the words. Dolby and Bosio also executed, with astonishing accuracy, a very difficult chromatic passage, and the conclusion of the duet was one of the most thrilling vocal efforts we heard during the whole Festival. The next part a recitative and chorus, introduced Signor Lablache, the effects of time, and the wear and tear of a very arduous profession, sit lightly upon him-he looks as hale and as jocund-as fat and as jolly-as he did 20 years ago. He did not sing the air so spiritedly as at the rehearsal the previous day, but the Chorus was a credit even to the high reputation of Norwich. We must, however, pass by many fine passages, including those in the spirited unaccompanied chorus, to notice the splendid solos and chorus by Madame Bosio and the Band. We never heard anything go more magnificently. Bosio sung "inflamatus et accensus" with great brilliancy and expression, whilst the trombone and wind instrument accompaniments were faultlessly rendered. The Amen Chorus was a fitting termination to one of the best musical compositions ever written, and we question whether the Stabat Mater has upon the whole ever been so well performed, taking it as an entirety, as it was on Tuesday morning. It embraces a large number of difficult but at the same time most exquisitely beautiful passages-the instrumentation is full and elaborate even in the most, comparatively speaking, unimportant parts-whilst the airs and choruses are among the best ever written by Rossini. We are glad that in this, its first performance here in an entire form, every thing passed off so admirably. The second part opened with Meyerbeer's Ninety-first Psalm, and there was no part of the festival arrangements looked to with greater interest than this, especially by Mr. Benedict, to whom its introduction into this country had been entrusted. It naturally felt that a certain portion of the author's reputation depended upon the manner in which the composition was interpreted here - this added to the ties of friendship, induced our justly esteemed Conductor to take especial pains in previously rehearsing it. Even at the general rehearsal, though there was the music for an additional concert to begone through, the psalm was tried both morning and evening - not because the first attempt left anything to be desired, but in order that Mr. Benedict might feel certain about its fate. It would perhaps be difficult to designate this composition by any other name than as a psalm - it partakes somewhat of the characteristics of an anthem, but it differs materially in construction from the old church anthems, and still more from those written during the last century. The aim of its author appears to be a very simple one-to adapt the words of a fine psalm to a series of vocal efforts, perfectly indifferent as to what it might be called. It is written for eight voices throughout, interspersed with short solos, and though an organ accompaniment is in the score, it is merely for the use of the amateur, and for the assistance of choral bodies in rehearsals. It is, at the commencement, in the key of G minor, though with in one sharp, but almost immediately resolves into G Major, and concludes with that. As a musical composition it possesses some very extraordinary passages-perfectly original both in theme and treatment, and developing new and unsuspected effects, just in proportion as the singer becomes better acquainted with the composer's meaning. It is also full of the most difficult passages-and never could be done justice to except by an experienced and well-trained choral body. The frequent changes in the time render it absolutely necessary that this department should be most strictly observed, for with eight parts going, the slightest deviation would be fatal to the success of the whole by throwing the others out of key. The Psalm has, however, its inequalities-it is unevenly written in some parts, whilst the airs are occasionally snatchy, and break off just where the strain appears to be at its best. Then, again, there is in one instance at least an inappropriate adaptation of the music to the words. The verse " Thou shalt know what fate the eternal keeps for the wicked," is set to one of the most joyous passages imaginable, instead of being one of the most solemn much of a strain in one of the choruses in Der Freisin the Psalm. The last chorus-"Him will I grant to live for many long years, and him will I call in Heaven unto me" -sounded mazy and confused; the effect intended to be conveyed could not be distinctly and effectively brought out, though especial pains had been from the first taken with this passage. It appears to need instrumental aid, when, we believe, it would be one of the most original portions of the composition. The opening by the basses- "Who seeks in the Lord a sure asylum," taken up by the tenors, and leading into the chorus "My defender and my strong hold, O Lord in thee will I trust," is one of the most impressive and pleasing strains ever written ; it has all the grandeur and simplicity of Handel about it. It is a passage which no one ever forgets, and it is evidently a favourite with the author, who introduces it, wholly or in part, we think three or four times. What a delicious air, too, runs through the quartette (by Mr. and Mrs. Weiss, Miss Dolby, and Mr. Reeves), beginning "God will watch over thee like a father," so expressive of Christian hope and confidence, and as sweetly given by the above singers. After a very original and brilliant piece of part-writing to the words "the arrow which by day flies rapidly, and the pestilence which in darkness walketh," we came to a most magnificent chorus- the chorus par excellence of the Psalm -" For he hath given his angels charge over thee " This is really a surprising effort, and if Meyerbeer had never written another line, would alone stamp him as a musical genius of the highest order. We have no doubt we shall often hear this in Norwich, and that it will become an established favourite. The melody is easy, flowing, and elegant, and the subdued piano of the voices gave a very perfect rendering to it. One of the most original pieces of writing we know is in the vocal accompaniment to this strain, which is made to resemble the effects produced by an organ. It is perfectly marvellous. The allegretto "A thousand shall fall at thy left hand" was sung with marked energy, and with the most rigid attention to rhythm, which is extremely difficult in this movement. The verse " Thou art my hope, O Lord" is to the general hearer the most attractive piece perhaps of melody in the Psalm. It is exceedingly well scored. The solos, it is unnecessary to say, in the hands to which they were entrusted, were well done ; they do not, indeed, call for any special observation, for the Psalm depends almost entirely upon the effects to be produced by a body of voices. The whole passed off most satisfactorily, and without any of those little unfortunate accidents which usually attend to mar first performances. Of course the natural fear was that in a sustained vocal effort like this, perfectly unassisted by any instrumental aid, the singers would get flat; when, at the close, some anxious chorister stepped forward and touched the key note G on the organ, and it was found not to have sunk any appreciable fraction of a note, an expression of satisfaction akin to triumph lighted up the faces of the entire orchestra. The audience reciprocated the feeling, for it was a right one. Meyerbeer's Psalm is a triumph for the Norwich chorus-one and all sang with a true esprit de corps about them-and the result has been, as they were urged to do by Mr. Benedict, to sustain their "old glory." The composer is under as much obligation to our conductor for bringing so great a work before the public, as the lovers of music must feel for having had the opportunity of listening for the first time to so extraordinary an effort. We have reason to know that it was attempted three times in Paris at rehearsal, and abandoned, in consequence of its apparently insuperable difficulties-so much the more credit is therefore due to our chorus. The remainder of the morning's performance consisted of a selection of sacred music. In the clarionet obligato, to " Gratias agimus," Mr. Lazarus, well known as he is here, really surprised us by the delicious tones he elicited from one of the most difficult of all instruments for an accompaniment. This was succeeded by the air from Spohr's Calvary-" When this scene of trouble closes." First impressions are sometimes more difficult to efface than they ought to be, but we cannot help thinking this was not sang by Clara Novello with that depth of feeling which Madame Stockhausen imparted to it in 1839. The trio which immediately follows this air in the oratorio was very effective, especially the parts allotted to Clara Novello and Miss Dolby. Gardoni sang in his best style, the air "Se miei sospiri," for which we presume, new instrumental accompaniments had been written since Stradella's time, who composed it before the days of trombones, oboes, &ct. The concluding chorus was the splendid one from Handel's Ode to St. Cecilia's day. The unaccompanied air- "As from the power of mighty lays, &c," introducing this chorus, was exquisitely given by Clara Novello; it carried those away to whom the extraordinary quality and volume of her voice were unknown. A succession of long notes, ranging generally as high as treble A, without accompaniment, is no ordinary effort. It was given in the purest tone and without the slightest approach to screaming. The pathos infused into the passage "So when the last and dreadful hour," was felt throughout the hall.- The trumpet part was well played, and the chorus altogether was faultless. TUESDAY EVENING. We had, for the first evening concert, an unusually good attendance; a large portion of the reserved seats were occupied, the body of the Hall was well filled, but the galleries were very thin. His Grace the Duke of Wellington, who had arrived in the course of the afternoon on a visit to Sir. S. Bignold, the Mayor, took his seat in the patron's gallery during the performance of Acis and Galatea. The following was the programme :- Parts I. and II. Handel's Serenata, Acis and Galatea. PART III. - .Miscellaneous. Overture-(Leonora) - Beethoven Aria-" Entendez vous"-(Le Concert à la Cour) - Auber. Fantaisie Caprice-Violin- Vieuxtemps. Quintetto-" Di scrivermi ogni giorno"-(Cosi fan tutte) --Mozart Romance - " Oh! she is fair"-Viola obligata-(Les Huguenots) - Meyerbeer. Aria-" Ernani involami"-(Ernani)- Verdi. Quartetto- (Unaccompanied) -" Noble Chatelaine"--(Le Comte Ory)- Rossini. Duetto-" Da quel di"-(Linda) - Donizetti. Ballad-" Oh ! let me sing to thee"- H. Leslie. Duetto-"Signorina in tanta fretta"-(Don Pasquale) - Donizetti. Air-" Rage thou angry storm"- Benedict. Finale-"Mi manca la voce"-(Mosé in Egitto)- Rossini. Detached portions of Acis and Galatea have been performed at previous Festivals, but never, until the present occasion, has it been done entire. This composition has been performed under several different names. The words are thought to be by the poet Gay, and intended for a romantic drama. With this object, Handel composed the music and it was brought out, first of all in 1724, in the Haymarket, where it was represented without scenery, dresses, or action. Handel had nine or ten years previously set to music, an Italian version of the story of Galatea, Acis e Polifeno," totally different to the English one; this latter be appears to have written whilst he lived at Cannons, in an incredible short time, and dedicated it to his friend and patron the Duke of Chandos. As a masque it was performed several times in England at the period of its introduction, but it never appears to have given Handel satisfaction, and it was, comparatively speaking, shelved, as a whole, for a considerable number of years. In 1848 Mr. Macready brought it out as a romantic drama at Drury-lane, with all the accessories of magnificent dresses and scenery ; it was not, however, sufficiently popular to be attempted a second season. It was not sufficiently dramatic to please the theatrical taste of the present day, and it will probably never be attempted in any other form than the one we heard it in on Tuesday evening-a Serenata. Like all Handel's works, the instrumental score of Acis and Galatea was a very meagre one, containing parts only for the first and second violins, two oboes and basses, and although Mr. T. Cooke, when it was produced at Drury-lane, wrote additional accompaniments for some of the songs, the other portions were too bare to be acceptable at the present day. M. Benedict is the fortunate possessor of a copy of Mozart's accompaniments for this gem of Handel's secular music. It was known that Mozart had written accompaniments for this as well as Alexander's Feast and the Messiah, but they were not discovered until lately, and our conductor was able to secure one of the very few copies in existence. They were used, for the first time in Norwich, on the present occasion, and in some of the songs and duets the improvement was incredible. Mozart has added an entire viola part, and several most effective wood and brass instrumental parts. Some of the brass and reed parts were equal to anything we ever met with.-In the first soprano song " Hush ye pretty warbling choir," there was a most brilliant accompaniment by the piccolo and violins, which imparted to the melody a grace and fullness which in many parts it seemed to stand in especial need of. "Shepherds what art thou pursuing," brought out the peculiar qualities of Gardoni's almost unequalled voice ; it was admirably adapted for him, and the finale was one of the most joyous ebulitions of vocal power in the course of the evening.- But what shall we say of Belletti's " Ruddier than the Cherry," in the character of Polyphemus. He gave this monster love song in a style we never before heard attempted, and with very great success. Restrained partly, perhaps, by the difficulties of the language he rendered most of the words staccato, infusing into them at the same time a rich vein of comic humour, which operated most irresistibly on the audience. Whether it is strictly correct to give so marked an emphasis to so many passages as Signor Belletti did may be doubtful ; it was highly effective, and warmly encored. A recitative, "Cease to beauty, to be suing," about one of the best airs ever written, was exceedingly well given by this artiste ; allowing a little-and only a little-for his pronunciation, it was perfect. Mr. Sims Reeves sang in his usual chaste and effective style; he has still his old tendency to occasionally get out of time with the band, but he more than compensates us for these trifling irregularities by his full round mellow voice, his accurate perception of the character of his songs, and the real pathos he infuses into them, This applies to his general interpretation of the part of Acis: with what purity of feeling he sang the apostrophes of the love-sick shepherd; and when the declamatory style was required, as in "Love sounds the alarm," he was equally successful. As an English ballad singer he has no rival. But perhaps the gem of the evening was the song, " Heart the seat of soft delight." by Clara Novello. We never heard half so much made of this air, which is not generally looked upon as one of the prominent beauties in the production. Her intonation and expression were perfect, whilst a delicious accompaniment by the flutes gave a charming finish to a very lovely song. This part is largely indebted to Mozart's alterations for the effects we heard on Tuesday last. It was encored, and though it was evidently a great exertion to Madame Novello, went even better than the first time. The same theme formed the burden of the concluding chorus, "Galatea dry thy tears," which was rattled through in first-rate style. Although our notice of the third part of this concert must be brief, we cannot omit a passing compliment to the band on the spirited manner in which they played Beethoven's overture to Leonora. Madame Castellan enchanted us with her delicious execution of an air from Auber's Le Concert à la Cour, and in a duet with Mr. Sims Reeves, from Linda di Chamouny. A style more sweet and unconstrained we never heard, whilst her interpretation of the most difficult passages was perfect. Bosio appeared to great advantage in Verdi's air of Emani. This gave her the best opportunity she had yet had of shewing to a Norwich audience what she really could do.- High as had been the expectations raised by this lady's success at the Italian Opera, we feel assured there was not in the mind of a single person the slightest feeling of disappointment. And here we may make an observation or two applicable to her singing generally. Her execution is most elaborate, at the same time easy and natural. Trained evidently in a good school, she never sacrifices sense for sound - never in the artiste forgets the meaning of the author she is interpreting. This gives to her singing its greatest charm - that of making the audience feel what they are listening to. When necessary, however her vocalization is extraordinary ; her shakes and cadenzas are among the purest and richest things we have met with. It is quite unnecessary to compare her with the leading Soprano singers at former festivals ; she may not have the depth and volume of a Malibran or a Jenny Lind, but she is a lady of extraordinary attainments, and has, as far as human foresight can perceive, a very brilliant future in reserve tor her. The appearance of Signor Lablache in a duet with Madame Bosio, from Don Pasquale, was the signal for a hearty round of applause. Here the dramatic (Norfolk Chronicle, Saturday, 16 September 1854)

THE NORWICH MUSICAL FESTIVAL. Though not distinguished for novelties of great promise and importance, the prospectus of the 11th anniversary of the Norfolk and Norwich Musical Festival was very good, and the list of singers engaged unusually strong. The two new oratorios produced at the last meeting (1852), though both possessed a certain degree of merit, were by no means successful enough to encourage the hope that they could ever become stock pieces, or have any chance of being presented at future meetings. The music of Israel Restored was well-written, but not original; while that of Jerusalem was original, but not well-written; so that each lacked one essential quality. Discouraged by this result, the managers of the Norfolk and Norwich Musical Festival determined to run no risk this time; and, instead of two new oratorios by English composers, they have offered to their friends and patrons, the clergy, nobility, and gentry, of the county and its vicinities, no new oratorio at all, either of English or foreign manufacture, relying upon the unfailing attraction of certain acknowledged masterpieces. The festival was under the patronage of Her Majesty the Queen and Prince Albert. The continuance of Mr. Benedict as conductor and director-in-chief of the musical department has given unanimous satisfaction. The band secured by Mr. Benedict consisted of 18 first and as many second violins, 14 violas, 10 violoncellos, 10 double-basses, 5 flutes, 4 oboes, 4 clarinets, 4 bassoons, 6 horns, 4 trumpets, 6 trombones (3 for each choir), 2 ophicleides, 2 drums, and triangle - altogether a force of 108 instrumentalists selected from the best available talent. The chorus comprised 80 trebles, 60 altos, 60 tenors, and 70 basses, which joined to the band, made a competent and imposing orchestra of little short of 400. The list of principal singers was more than ordinarily varied and attractive: -sopranos. Mademoiselle Bosio, Madame Castellan, Madame Clara Novello, and Mrs. Weiss; contralto, Miss Dolby; tenors, Signor Gardoni, Herr Reichardt, and Mr. Sims Reeves; basses, Signor Belletti, Mr. Weiss, and Signor Lablache. The solo instrumentalists were M. Sainton and Mr. Blagrove (violins), Mr. Hausmann (violoncello). As usual, there was no pianist - a serious oversight, since no solo instrument affords such grateful relief to an orchestral concert as the pianoforte, and for no instrument have so many fine compositions been written. A first-rate pianist would have been an agreeable substitute for one or two of the principal singers… Wednesday.- The performances began with Beethoven's first Mass (or " service," as it is styled in the programmes) in C, sung to English words - in obedience to what must be termed a very untenable prejudice, since St. Andrew's-hall is not a church, and a concert of music is not a religious ceremony . Some of the finest points in the musical expression were thus either damaged or altogether lost. In other respects the execution of Beethoven's fine work was admirable - quite as good, indeed, as that of the Stabat Mater. The principal singers in the mass were Madame Novello, Miss Dolby, Herr Reichardt, and Mr. Weiss, who showed themselves intimately versed in the music, and sang the various solos and quartets which are interspersed with, and relieve the choruses, as well as they need be sung. When the beautiful chorus, "Holy holy, holy, Lord God of Sabbath," (the "Sanctus") commenced, the entire audience rose, and remained standing until the quartet, "He is blessed, O Lord" (the " Benedictus"). Of the Creation-which followed, and terminated the concert-it is necessary to say but little, since the principal singers, with two exceptions - Signors Gardoni and Belletti - were the same as at the Worcester Festival, and their performances, while quite as good on as that occasion, offered no new feature for comment. To Signor Gardoni were assigned the recitative and air of Uriel, "Now vanish before the holy beam," and the declamatory recitative, "In splendour bright" (Part 1) ; to Signor Belletti the bass part in the duets between Adam and Eve - " By thee, O bounteous Lord," and "Graceful consort," and the intervening recitatives (Part 3.) The other singers were Madame Castellan, Madame Clara Novello, Mr. Weiss, and Mr. Sims Reeves, as before. At the desire, we believe, of a great majority in the patrons' gallery, Lord Suffield made signals for the repetition of the airs, "With verdure clad," sung by Madame Novello, and "On mighty pens," sung by Madame Castellan, to the apparent gratification of the audience. The choruses were magnificent throughout and "The Heavens are telling," during which the audience stood up, overpoweringly grand and impressive. The miscellaneous concert, which took place in the evening, though the programme contained some good things, was by no means so interesting as the first. There were not only too many pieces, but too many of the same character; while the second part, which chiefly consisted of selections from the works of Spohr and Weber, came in the rear of such a quantity of more ephemeral matters, that it was impossible to pay the requisite attention - the ear being surfeited and the mind worn out. The concert began with a very fine performance of Beethoven's symphony in C minor, which was listened to with interest from first to last, and applauded heartily. There was only one other instrumental morceau in the whole of Part I.- a fantasia, on Scotch airs, for the violoncello, played with great spirit and mechanical facility by Mr. Hausmann (a great favourite at Norwich), and encored; by which the theory that solos for instruments afford a pleasant and necessary relief to these lengthy selections of vocal music was plainly illustrated. Another agreeable contrast was provided by Festa's delightful madrigal, "Down in a flow'ry vale," which was sung to perfection, but, strange to say, did not obtain a hand of applause. Among the vocal pieces were two quartets - one from Don Pasquale, sung to perfection by Madame Bosio, Signors Gardoni, Belletti, and Lablache, and encored; the other from Flotow's Martha, by Madame Novello, Miss Dolby, Signors Gardoni, and Mr. Weiss, which went just as ill as the other went well. Mr. Lindsay Sloper's clever fantasia for voice and piano, entitled, " The Lady and the Nightingale," was charmingly sung by Miss Dolby, who was accompanied on the pianoforte by Mr. Benedict. Two duets were introduced; the first, by Signor Cagnoni, even if sung more effectively than it was sung by Madame Novello and Mr. Sims Reeves - no easy task - would still remain what it intrinsically is - trash, without a redeeming point. The second, from La Cenerentola ("II segreto"), a masterpiece in the buffo style, was given by Signor Belletti and Lablache with such "verve and entrain" as to elicit another encore, and a genuine one. Madame Bosio sang the florid aria from Matilda de Shabran, "Ami alfine," in her most brilliant and finished manner; and Mad. Castellan was equally happy in the cavatina from Lucrezia Borgia, "Quanto e belle." Both ladies, in high favour with the audience, were liberally and unanimously applauded. The remaining vocal morceaux in the first part were far superior, in a musical point of view, to the majority of those we have enumerated. These were the quaint and exquisite romance, " When the evening bells are chiming," from Mendelssohn's comic operetta, Heimkehr, sung with great taste by the German tenor, Herr Reichardt, who, though without pretension, is not the less an excellent artist; the vigorous song, "Ah quel plaisir d'etre soldat," sung as well as ever by Signor Gardoni; the fine bravura air, " Sorgete," from Rossini's Maometto Secondo, in which the even and fluent vocalization of Signor Belletti could not fail to be admired and appreciated by connoisseurs; and last, not least, the splendid battle-song and Chorus from Purcell's King Arthur - "Come if you dare." Mr. Sims Reeves may justly be said to have made this fine piece his own, with such manly simplicity and straightforward English sentiment does he sing it. The selection from Weber and Spohr was made with Mr. Benedict's accustomed taste and musical appreciation, and would have pleased generally had it come first, instead of last, in the programme ; but, as it turned out, the singers were tired and the audience almost weary, The overture to Der Freischütz, played with great animation by the band, was the prelude to the vocal selection from Weber, which began with the well-known scena for soprano, followed by the not less admirable scena for tenor - both admirably executed, the first by Madame Novello, the last by Mr. Sims Reeves. The original tenor air from Oberon "Von Jugend auf" (for which, to oblige Mr. Braham, the composer substituted "Oh, 'tis a glorious sight"), though not one of Weber's best, is an interesting relic, and Herr Reichardt is entitled to praise for the very intelligent manner in which he sang it. The popular "Huntsman's Chorus," which we have heard given with more spirit and attention to light and shade, terminated the Weber selection. That from Spohr, though good, was less effective. To Mrs. Weiss was assigned a recitative and air from Der Alchymist - an opera little known, although it contains some of Spohr's finest music. No fault could be found with the lady's singing, which was tasteful and artistic; but the air is one of the dryest and least expressive of the master. The splendid and picturesque introduction to Jessonda, with the intermingled choruses of Priests and Bayaderes (solos by Mrs. Weiss, Miss Dolby, and Mr. Weiss), was much more attractive; and the execution in general left nothing to be desired. Equally acceptable was the characteristic war-song of Florestan ("Amid the battle raging") admirably sung by Signor Belletti. After the "selections" Miss Dolby gave two national songs, Irish and Scotch, accompanying herself on the pianoforte. The last, " Over the sea," was encored. The concert terminated with Meyerbeer's new march, entitled Marche aux Flambeaux, written for a popular and well-known German ceremony. Had the composer been present he would certainly have been astonished - perhaps offended. The march was scored by Meyerbeer for a military band; but, on the present occasion, stringed instruments were interpolated, and scarcely a bar of the author's own instrumentation was recognizable. It mattered not much, however, since, as it happened, the Marche aux Flambeaux - which enjoys an immense reputation in Paris - merely served as a voluntary to play the audience out. (The Musical World, Saturday, 16 September 1854)

The Norwich Festival was concluded on Friday, 15th ult, with Handel's "Messiah," before an audience of 1,350 persons. The Mus. World says: All the principal singers, except Lablache, were employed, and the general execution of Handel's masterpiece, was as grand impressive and correct, as could possibly have been desired. The only new feature was Madame Bosio's "Rejoice greatly," which was one among the numerous encores that prolonged the duration of the oratorio to such an unseasonable hour, and which, though surprisingly fluent and brilliant, did not come up to the expectations formed by her singing at the rehearsal, in consequence of the lady's extreme nervousness. This was Madame Bosio's first attempt at English sacred music. A more auspicious beginning could not have been desired. The band, (vocal and instrumental) consisted of 400 performers, Mr. Benedict being conductor. The music consisted, besides the above, of: Tuesday morning. The National Anthem; Rossini's Stabat Mater; the Ninety-first Psalm (for voices only) by Meyerbeer, (solos by Mme. Novello, Miss Dolby, Sims Reeves and Weiss); and selections from Guglielmi, Spohr, Stradella and Cherubini. - Evening. Handel's "Acis and Galatea," preceded by miscellaneous selections. Wednesday morning, Beethoven's Mass in C; Haydn's "Creation."-Evening. Selections from Beethoven, Mendelssohn, Cagnoni, Rossini, Hausmann, Donizetti, C. Festa, Flotow, Boieldieu, Lindsay Sloper, Purcell, Weber and Spohr. (Variety with a vengeance!). (Dwight's journal of music, Saturday, 21 October 1854) (Also: Dwight's journal of music, Saturday, 21 October 1854.)

Wednesday, 22 November 1854 : The Patriotic Fund's Ball and Concert at Guildhall, City of London.

Ball and Concert at Guildhall in Aid of the Patriotic Fund. - A very numerous and influential meeting of the members of the committee for conducting this entertainment was held yesterday, at Guildhall. In the absence of Sir J. Duke, Mr. Deputy Eagleton, who occupied the chair, announced that her Majesty the Queen and Prince Albert had graciously granted their patronage to this benevolent undertaking ; and that the support of many noblemen and gentlemen had been promised. With the view of rendering the national festival as brilliant as possible, the committee have engaged a talented musical band, the conductor being M. Jullien. The concert, which will be held in the council chamber, will be under the direction of Mr. Lindsay Sloper ; and many other distinguished artistes will likewise lend the aid of their gratuitous talents. A great demand has already been made for tickets, which will be issued early next week ; and from the anxious interest which every British heart feels in the present war, and the fate of those who so gallantly sustain the honour of the country, there cannot be the slightest doubt of the most complete success of this entertainment. (Morning Post, Thursday, 9 November 1854)

BALL AND CONCERT AT GUILDHALL IN AID OF THE PATRIOTIC FUND. A very numerous and influential meeting of the members of the committee for conducting this entertainment was held yesterday at Guildhall. In the absence of Sir J. Duke, Mr. Deputy Eagleton. who occupied the chair, announced that her Majesty the Queen and Prince Albert had graciously granted their patronage to this benevolent undertaking, and. that the support of many noblemen and gentlemen had been promised. With a view of rendering the national festival as brilliant as possible, the committee have engaged a band under the superintendence of M. Jullien. The concert, which will be held in the Council-chamber, will be under the direction of Mr. Lindsay Sloper. The artistes lend their aid gratuitously. A great demand has already been made for tickets, which will be issued early next week. (Morning Chronicle (1801), Thursday, 9 November 1854)

The ball and concert at Guildhall in aid of the Patriotic Fund promises to be successful. With a view of rendering the national festival as brilliant an possible, the committee have engaged band under the superintendence of M. Jullien. The concert, which will be held in the Council Chamber, will be under the direction of Mr. Lindsay Sloper, many other distinguished artistes will likewise lend the aid of their gratuitous talents. A great demand has already been made for tickets, which will be issued early next week. (Globe, Thursday, 9 November 1854) (Also: Bell's Weekly Messenger, Saturday, 11 November 1854.)

… her Majesty's Ministers, the Ambassadors, the Judges, members of both Houses of Parliament, and other persons of distinction who had received invitations to the banquet. The bane netting hall, in which the festivities will take place this evening, presents more splendid appearance than any previous year has witnessed. this occasion the lower portion of hall has been surrounded by Gothic screen, which has been most splendidly illuminated and redecorated in keeping with the interior of the hall, and under the direction of Mr. Sloper, the eminent… (Morning Advertiser, Thursday, 9 November 1854)

BALL AND CONCERT AT GUILDHALL IN AID OF THE PATRIOTIC FUND. A very numerous and influential meeting of the members of the committee for conducting this entertainment was held yesterday at Guildhall. In the absence of Sir J. Duke, Mr. Deputy Hagleto (who occupied the chair) announced that her Majesty the Queen and Prince Albert had graciously granted their patronage to this benevolent undertaking, and. that the support of many noblemen and gentlemen had been promised. With a view of rendering the national festival as brilliant as possible, the committee have engaged a band under the superintendence of M. Jullien. The concert, which will be held in the Council-chamber, will be under the direction of Mr. Lindsay Sloper. The artistes lend their aid gratuitously. A great demand has already been made for tickets, which will be issued early next week, and from the anxious interest which every British heart feels in the present war, and the fate of those who so gallantly sustained the honour of the country, there cannot be the slightest doubt of the most complete success of the entertainment. (The Era, Sunday, 12 November 1854)

BALL AND CONCERT AT GUILDHALL IN AID OF THE PATRIOTIC FUND. - A very numerous and influential meeting of the members of the committee for conducting this entertainment, was held on Wednesday at Guildhall. In the absence of Sir J. Duke, Mr Deputy Eagleton (who occupied the chair) announced that her Majesty the Queen and Prince Albert had graciously granted their patronage to this benevolent undertaking, and that the support of many noblemen and gentlemen had been promised. With a view of rendering the national festival as brilliant as possible, the committee have engaged a talented musical band, the conductor being M Jullien. The concert, which will be held in the Council Chamber, will be under the direction of Mr Lindsay Sloper, and many other distinguished artists will likewise gratuitously lend the aid of their talents. A great demand has already been made for tickets, which will be issued early next week, and, from the anxious interest which every British heart feels in the present war and the late of those who so gallantly sustained the honour of the country, there cannot be the slightest doubt of the most complete success of this entertainment. (Bell's Life in London and Sporting Chronicle, Sunday, 12 November 1854) (Also: Bell's Life in London and Sporting Chronicle, Sunday, 12 November 1854.)

PATRIOTIC FUND BALL AND CONCERT, Guildhall. Under the Especial Patronage of Her MAJESTY, and His Royal Highness Prince ALBERT, supported by the Lord Mayor and Lady Mayoress, the Sheriffs, and a distinguished list of the Nobility, on Wednesday next, 22 instant. Tickets may be obtained at the Mansion-house; at Guildhall, of the members of the committee; and of the several music sellers. The Concert will be conducted by Mr. Lindsay Sloper and Mr. Frank Mori, assisted by several eminent artistes, all of whom kindly give their services gratuitously. Sir JAMES DUIKE, Bart., M.P., Chairman. JAS. R. CARR, Hon, Sec. PATRIOTIC FUND. (Morning Chronicle (1801), Friday, 17 November 1854) (Also: Morning Post, Monday, 20 November 1854; Morning Advertiser, Monday, 20 November 1854.)

THE PATRIOTIC FUND. The concert and ball at Guildhall, the proceeds of which are to be devoted to the Patriotic Fund, took place last night under the most favourable circumstances. The sale of tickets had evidently been very large, and before midnight the hall presented a very brilliant and animated appearance. The decorations used on the occasion of the Lord Mayor's feast on the 9th inst. were retained, and as these were upon an unusually costly scale, as we described at the time, the gaiety of the internal effect, when the hall was at the fullest, may easily be imagined. The illuminated painting, symbolical of the brotherhood of England and France, which formed so conspicuous a tableau at the east end of the building, was in pictorial accordance with the motive of the festivity, and gratified the eye while it touched the heart. Memorials of like suggestiveness were placed throughout the passages leading to the suite of council rooms, the vestibules of which were liberally embellished with statuary and flowers. The fete in this respect was upon a scale of more than ordinary grandeur, and the general aspect of the place was as tasteful as it was bright and varied. The concert given in the Throne-room was superintended by Mr. Lindsay Sloper. Several of our most distinguished artists lent their services, and performed a series of compositions with their accustomed skill and ability. The singers were Madame Anna Thillon, Miss Messent, Miss Dolby, Mrs. Weiss, Miss Ransford, Mr. Wrighton, Mr. Weiss, and Signor F. Lablache ; the instrumentalists, Signor Regondi, Miss Ellen Day, Mr. Lazarus, and Miss Louise Christine. (The Standard, Thursday, 23 November 1854)

Grand Ball at Guildhall.- The ball in aid of the Patriotic Fund, got up under the auspices of some humane members of the Corporation of London, took place last night. The attendance was exceedingly numerous- indeed the company was estimated at over two thousand- the only remarkable feature in which was, the almost total absence of any leading members of the civic municipality. With the exception of Alderman Sir James Duke, who sustained his office of patron, Alderman Rose, Mr. John Wood, Mr. Anderton, Mr. Carr, and some few others, the corporation were unrepresented. Happily this circumstance did not detract from the enjoyment of those present. The hall never looked more brilliant. An excellent quadrille band, under the leadership of Herr Koenig, kept the dance going merrily throughout the evening; and, for the too sage patrons of the entertainment, a concert, led by Lindsay Sloper, in which Madame Anna Thillon assisted, was improvised in the Aldermanic Chamber. The pecuniary result will, there can be no doubt, prove very satisfactory and great credit is due to the honorary secretary, and all parties concerned in the arrangements, for the admirable manner in which the fete was carried out. (Morning Post, Thursday, 23 November 1854) (Also: Globe, Thursday, 23 November 1854.)

Thursday, 30 November 1854 : Miss Dolby's First Soirée Musicale at Her Residence, 2, Hinde-Street, Manchester-Square.

MISS DOLBY begs to announce that she will give TWO SOIREES MUSICALES at her residence, 2, Hinde-street, Manchester-square, on the following date:- Thursday, Nov. 30; Wednesday, Dec. 13. To commence at half past eight o'clock. Miss Dolby will be assisted by the following eminent artistes:- Herr Ernst, Mr. Blagrove, Mr. Lucas, Mr. W. S. Bennett, Mr. Lindsay Sloper, Mr. Benedict, Mr. Lazarus, Signor Regondi, and Signor Piatti. Subscription for two Soirées, 16s.; single tickets, Half a Guinea; to be obtained at Miss Dolby's residence, and at the principal music shops. (The Musical World, Saturday, 18 November 1854)

MISS DOLBY begs to announce that she will give TWO SOIREES MUSICALES at her residence. 2, Hinde-street, Manchester-square, on the following dates -THURSDAY Nov. 30 ; WEDNESDAY, Dec. 13. To commence at halt-past eight o clock. Miss Dolby will be assisted by the following eminent artistes:- Herr Ernst, Mr. Blagrove, Mr. Lucas, Mr. W. S. Bennett, Mr. Lindsay Sloper, Mr. Benedict, Signor Regondi, and Signor Piatti. Subscription for two Soirées, 15s. ; single tickets. Half a Guinea; to be obtained at Miss Dolby's residence, and at the principal music shops. (Morning Post, Thursday, 23 November 1854) (Also: Morning Chronicle (1801), Friday, 24 November 1854; Morning Post, Saturday, 25 November 1854; The Athenaeum, Saturday, 25 November 1854; Daily News, Tuesday, 28 November 1854.)

MISS DOLBY begs to announce that she will give TWO SOIRÉES MUSICALES at her residence, 2, Hinde-street, Manchester-square, on the following dates :-Thursday, Nov. 30; Wednesday, Dec. 13. To commence at half past eight o'clock. Miss Dolby will be assisted by the following eminent artistes:-Herr Ernst, Mr. Blagrove, Mr. Lucas, Mr. W. S. Bennett, Mr. Lindsay Sloper, Mr. Benedict, Mr. Lazarus, Signor Regondi, and Signor Piatti. Subscription for two Soirées, 15s.; single tickets, Half a Guinea; to be obtained at Miss Dolby's residence, and at the principal music shops. (The Musical world, Saturday, 25 November 1854)

MISS DOLBY begs to announce that her FIRST SOIREE MUSICALE will take place THIS EVENING (THURSDAY), at her residence, 2, Hinde-street, Manchester-square, to commence at half-past eight o'clock precisely, when she will be assisted by Miss Amy Dolby. Herr Ernst, Messrs. W. S. Bennett, Lindsay Sloper, Lucas, and Lazarus. Single tickets, half a guinea each, to be obtained of Messrs. Cramer and Co., 201, Regent-street; of Messrs. Addison and Co., 10, Regent-street; and of Miss Dolby, at her residence as above. (Morning Post, Thursday, 30 November 1854)

MISS DOLBY'S FIRST SOIREE MUSICALE. Miss Dolby gave her first soirée musicale, last evening, at her residence, Hinde-street, Manchester-square. The instrumental portion of the entertainment consisted of a trio ; in C minor, by Mendelssohn, for the pianoforte, Mr. W. S. Bennett ; violin, Herr Ernst ; and violoncello, Mr. Lucas, which, it is needless to say, was most exquisitely performed, as was a sonata In G, by Beethoven, for the pianoforte and violin, which was played by the two former gentleman. There was also a fantasia from the " Huguenots," cleverly executed by Mr. Lazarus, on the clarionet. The vocal part was undertaken by Miss Dolby and her sister, Miss Amy Dolby, who, in Mozart's aria, "Deh vieni non tardar," gave promise of future excellence. Miss Dolby herself sang the recitative and aria, also from Mozart, " Non so donde viene'' with great delicacy and effect, as well as Haydn's "Spirit ; Song" both of which were warmly and deservedly applauded. The two ballads, " O Bay of Dublin," the poetry by Lady Dufferin, and "Over the sea," written by Mrs. Groom, in which Miss Dolby accompanied herself, must not be forgotten as admirable examples of that style of singing. Mr. Lindsay Sloper presided at the pianoforte. Miss Dolby, on this occasion, both by the selection of the pieces and the manner in which they were executed, gave her friends and patrons a charming and refined entertainment. The second concert of the series will take place on the 13th of December next, when an equal treat may be safely anticipated. (Morning Post, Friday, 1 December 1854)

MISS DOLBY'S CONCERT. Miss Dolby has announced two concerts of chamber music at her own residence, in Hinde-street, the first of which took place last evening; and, as is always the case with the soirées of this accomplished and favourite performer, her rooms were filled, even at this season, with fashionable company. The programme was elegant and recherche, and the performances were excellent. A very remarkable feature of the concert was an Italian scene by Mozart, unknown in this country, and recently found by Miss Dolby. It is highly dramatic and impassioned, and evidently written for the stage, though it is not in any of his known operas. It is a recitative, "Alcandro, lo confesso," followed by an aria, " Non so donde viene.' It is marked in every bar with the stamp of Mozart's genius; and she has given a boon to the musical public by making it known to them through the medium of her own admirable singing. She also sang Haydn's beautiful "Spirit song," and two pretty ballads, "O Bay of Dublin," an Irish melody with poetry by Lady Dufferin; and "Over the Sea," composed by Mrs. Groom. We need scarcely say that her reception was most cordial. Her younger sister, Miss Amy is Dolby, sang Mozart's fine aria, "Deh vieni non tardar;" and the two sisters gave Winter's charming duet, "Ti veggo, t'abbraccio," from the opera of Proserpina. Miss Amy is making progress, and promises to emulate her sister, whom in many respects she strongly resembles. There was some admirable instrumental music. a Mendelssohn's trio in C minor for the piano, violin, - and violoncello was played by Messrs. Sterndale Bennett, Ernst, and Lucas. Beethoven's sonata in G, Op. 30, was executed by Bennett and Ernst. Mr. Bennett played a charming pianoforte solo of his own; Ernst performed, on his magical violin, two "morceaux de salon," an allegretto and notturno, with exquisite grace and expression; and Lazarus played on the clarinet a very pleasing fantasia on airs from the Huguenots, composed by Mr. F. Mori. The vocal pieces were accompanied in a masterly manner by Mr. Lindsay Sloper. (Daily News, Friday, 1 December 1854)

MISS DOLBY'S SOIREE, Yesterday evening Miss DOLBY gave the first of her Soirées Musicales, at her own residence, for the [?] season. The selection of choice morceaux for the evening was made with that judicious and excellent taste for which this talented lady is so justly admired ; and in her endeavours to provide a worthy musical entertainment for her friends, Miss DOLBY was most ably assisted by her sister Miss AMY DOLBY, Herr ERNST, Mr. W. S. BENNETT, Mr. LAZARUS, Mr. LINDSAY SLOPER, and Mr LUCAS. In the course of the evening Miss DOLBY gave the beautiful recitative and air of MOZAR "Alcandra lo confesso" and " Non so donde viene," with more than her [usual?] ability ; and "the Spirit song" of HAYDN, to which the fair artiste has given so just and wide a celebrity, [?] with remarkable feeling and expression. MOZART's beautiful aria, " Deli vieni non tardar," given by Miss AMY DOLBY was received with most deserved applause, as was the fine duet, "Ti veggo I'abbracio," which was sung by Miss DOLBY and her sister. The performances by Herr ERNST and Mr. LAZARUS fully sustained their well earned reputation. The instrumental pieces performed during the evening were - Trio in C minor. pianoforte, violin, and violoncello, Mr. W. S. Bennett, Herr Ernst, and Mr. Lucas - Mendelssohn. Solo, pianoforte, " Genevieve," Rondo Piacevole, Mr. W. Sterndale Bennett - W.S Back. Deux Morceaux de Salon, violin, allegretto e notturno, Herr Ernst - Ernst, Sonata in G, Op. 30. pianoforte and violin, Mr. W. Sterndale Bennett and Herr Ernst - Beethoven. Fantasia, clarionet, on airs front Les Huguenots," Mr. Lazarus - F. Mori. The attendance was numerous and select, and comprised many of the most influential and well known patrons and supporters of music and song, and whose presence must have been highly gratifying to Miss Dolby. The second and last soirée is announced to take place on the 13th of December. (Morning Chronicle (1801), Friday, 1 December 1854)

Miss Dolby gave the first of her Soirées Musicales for the season at her residence on Thursday evening. As is usual at these agreeable réunions, some choice pieces of vocal and instrumental music were admirably given. Miss Dolby was assisted on this occasion by Miss Amy Dolby, Herr Ernst, Mr. Sterndale Bennett, Mr. Lucas, Mr. Lazarus, and Mr. Lindsay Sloper. The next soirée will take place on Wednesday, December 13th. (The Literary gazette : A weekly journal of literature, science, and the fine arts, Saturday, 2 December 1854)

MISS DOLBY'S SOIREES. The first took place on Thursday evening, at the residence of the accomplished contralto. The programme was well adapted to gratify real connoisseurs, and the performance was quite as good as the selection was interesting. The concert began with Mendelssohn's second pianoforte trio, very finely executed by Mr. Sterndale Bennett, Herr Ernst, and Mr. Lucas. To this succeeded one of the most beautiful and least-known of the cantatas by Mozart, sung with classical feeling by Miss Dolby herself. The Rondo Piacevole, and the romance, Genevieve, two of Mr. Sterndale Bennett's most fresh and charming pieces, were played by the composer to perfection. The pianoforte, one of Broadwood's choicest instruments, was just calculated to display to advantage the round and mellow tone of our great pianist. The most skilful singer may fail to please without a good voice to help him; but the "voice" and the "singer" were worthy of each other in this instrumental performance. The pretty aria, from Figaro, "Deh vieni non tardar," was sung with much taste by Miss Amy Dolby, who continues to make progress; and Herr Ernst brought the first part of the concert to a close with two pleasing and artistic bagatelles of his own composing, which he played to perfection. At the beginning of Part II., the "poet of the fiddle" - as he has been appropriately styled - in conjunction with Mr. Sterndale Bennett, delighted the audience with Beethoven's sparkling sonata in G., from Op. 30; and was followed by Miss Dolby, with Haydn's "Spirit Song," a great favourite with the singer, if we may be allowed to judge from the frequency with which she introduces it in public, and the unexceptionable manner in which she sings it. Mr. Lazarus then played an ingenious fantasia on the clarionet, composed by Mr. Frank Mori upon subjects from the Huguenots. This performance was alike remarkable for fine tone, pure expression, and correct execution. A hacknied duet of Winter, sung by the Misses Dolby, and some ballads, given by Miss Dolby to her own accompaniment, brought the entertainment to a close. Mr Lindsay Sloper, who accompanied the two instrumental solos and the principal vocal pieces, displayed the talent we are accustomed to expect from him. The rooms were fashionably attended, and the programme afforded general satisfaction. There were no encores. Tant mieux. (The Musical world, Saturday, 2 December 1854)

Miss Dolby has commenced her Chamber Concerts for the season, at her own residence, as usual. The first took place on Thursday evening, the 80th of last month, and attracted a numerous and fashionable audience. It was an elegant and interesting entertainment. Miss Dolby herself sang several beautiful pieces, in various styles; the most remarkable was Mozart's very fine, but little-known cantata, Alcandro, lo confesso," which gave full scope to her powers of execution and dramatic expression. She also sang Haydn's celebrated Spirit Song, and a couple of pretty national ballads. Miss Amy Dolby sang Mozart's air from Figaro, Vieni non tardar," with taste and feeling. This young lady is making much progress, and following in the footsteps of her sister. There was some classical instrumental music, admirably performed by Mr. Sterndale Bennett, Herr Ernst, Mr. Lucas, and Mr. Lazarus. The vocal pieces were accompanied on the pianoforte by Mr. Lindsay Sloper, in his usual masterly manner. (Illustrated London News, Saturday, 9 December 1854)

Wednesday, 13 December 1854 : Miss Dolby's Last Soirée Musicale at Her Residence, 2, Hinde-Street, Manchester-Square.

MISS DOLBY begs to announce that her LAST SOIREE MUSICALE will take place on WEDNESDAY, the 13th Dec, at her residence, 2, Hinde-street, Manchester-square, to commence at half-past 8 o'clock precisely, when she will be assisted by Miss Amy Dolby, Signor Piatti, Messrs. Lindsay Sloper, Benedict, Blagrove, and Lazarus. - Tickets, half a guinea each, to be obtained of Messrs. Cramer and Co., 201, Regent-street ; Messrs. Addison and Co., 210, Regent-street; and at Miss Dolby's residence. (Morning Post, Wednesday, 6 December 1854) (Also: Daily News, Friday, 8 December 1854; The Athenaeum, Saturday, 9 December 1854.)

MISS DOLBY begs to announce that her LAST SOIREE MUSICALE will take place on Wednesday, the 13th December, at her residence, 2, Hinde-street, Manchester-square, to commence at half-past 8 o'clock precisely, when she will be assisted by Miss Amy Dolby, Signor Piatti, Messrs. Lindsay Sloper, Benedict, Blagrove, and Lazarus. Tickets (half-a-guinea each) to be obtained of Messrs. Cramer and Co., 201, Regent Street; Messrs. Addison and Co., 210, Regent Street; and at Miss Dolby's residence. (The Literary gazette : A weekly journal of literature, science, and the fine arts, Saturday, 9 December 1854) (Also: The Musical world, Saturday, 9 December 1854; The Musical World, Saturday, 9 December 1854.)

MISS DOLBY begs to announce that her LAST SOIREE MUSICALE will take place THIS EVENING, the 13th Dec, at her residence, 2, Hinde-street, Manchester-square, to commence at half-past 8 o'clock precisely, when she will be assisted by Miss Amy Dolby, Signor Piatti, Messrs. Lindsay Sloper, Benedict, Blagrove and Lazarus. - Tickets, half a guinea each, to be obtained of Messrs. Cramer and Co., 201, Regent-street ; Messrs. Addison and Co., 210, Regent-street; and at Miss Dolby's residence. (Morning Post, Wednesday, 13 December 1854)

MISS DOLBY'S SOIREE MUSICALE. Yesterday evening Miss Dolby gave, at her own residence, the last of her delightful musical reunions for the present season, a more numerous company than usual being present on the occasion. To the lovers of first-class music and the admirers of the most finished performance, the selection of vocal and instrumental music, and the admirable execution of the various artistes, could not fail to have afforded the highest pleasure. We seldom remember to have heard any piece more exquisitely performed than MENDELSSOHN'S charming duo in D major-pianoforte and violoncello by Mr. LINDSAY SLOPER and Signor PIATTI-and in a solo on the violoncello Signor PIATTI was unusually fine. BEETHOVEN'S trio in B flat, pianoforte, clarionet, and violoncello, by Mr. SLOPER, Mr. LAZARUS, and Signor PIATTI, was a singularly successful and highly-finished performance. Miss DOLBY sang in the best style, and with her usual good taste, the two songs, "Addio" and" E m'e venuto," and received a warm and well-merited encore. In the course of the evening Miss DOLBY also sang " Per questa bella mano," with violoncello obligato by Signor PIATTI, the beautiful aria from the Stabat Mater, "Gia tre volte," and the spirited Jacobite song, "Charlie yet," and, with her sister, Miss AMY DOLBY, the two duets from the Stabat Mater, ." Vanne vale" and "Chiara fonte." Mr. LINDSAY SLOPER gave some excellent variations on the piano from the old English air, " Early one morning," and also the fine piece, "Allegro Scherzando." M. BENEDICT accompanied the solos on the pianoforte. A more pleasant evening could not have been passed, and we are happy to see that the exertions of Miss DOLBY to provide first-class musical entertainments have been so well supported and worthily appreciated by her friends during the present season. (Morning Chronicle (1801), Thursday, 14 December 1854)

MISS DOLBYS SOIREES. The second and last took place on Wednesday evening, before a fashionable audience. The concert began with the clarinet trio of Beethoven (Op. 11, in B flat), which was played to perfection by Messrs. Lindsay Sloper (piano), Lazarus (clarinet), and Piatti (violoncello), and being rarely heard, was doubly welcome. A selection from the Stabat Mater of Pergolesi, consisting of two duets and an aria, with Italian words by Sig. Manfredo Maggioni, afforded much interest. The aria was sung with great taste by Miss Dolby, and the duets by the same accomplished lady with her promising sister, Miss Amy Dolby. The music is, as the French might say, "un peu pale." An andante, followed by a Rondo Pastorale, composed and performed by Mr. Blagrove on the violin (accompanied on the piano), obtained much approbation ; while the enthusiasm of the room was raised, and no wonder, by Miss Dolby's very artistic singing, in Mozart's grand aria, "Per questa bella mano," to which the violoncello obbligato (not obligato) of Sig. Piatti imparted additional charm. Two graceful little pieces for pianoforte solos - the old English air, "Early one morning," with variations, and Allegretto Scherzando - were performed with exquisite neatness by the composer, Mr. L. Sloper, who in the lovely Air Varie of Mendelssohn (in D) for piano and violoncello, shared with Signor Piatti the genuine and well-deserved applause of all present. Two very nice Italian songs, very nicely sung by Miss Dolby, came next in order, ; " Addio " by Signor Piatti, and "E m'e venuto," by Signor Gordigiani; the last, which is eminently graceful, was encored. Signor Piatti, then, in a violoncello solo, both surprised and delighted the audience, and the performances came to an end with a couple of very "taking" ballads - " Would I were with thee," composed by Mr. Schulz and sung by Miss A. Dolby; and the Jacobite song of "Charlie yet," in which Miss Dolby the elder accompanied herself on the pianoforte. Mr. Benedict was the conductor, than whom a better could not have been selected. Everybody was pleased and satisfied with the programme. (The Musical world, Saturday, 16 December 1854) (Also: The Musical World, Saturday, 16 December 1854; The Musical world, Saturday, 16 December 1854.)

Miss Dolby has given a couple of Soirées before fashionable audiences. The last included a clarinet Trio of Beethoven, played by Sloper, (piano) Lazarus (clarinet) and Piatti, ('cello); a selection from Pergolese's Stabat Mater, sung by Miss D. and her sister; a violin solo by Mr. Blagrove; an aria of Mozart, and two modern Italian songs; piano solos, &c. Mr. Benedict was conductor. (Dwight's journal of music, Saturday, 13 January 1855) (Also: Dwight's journal of music, Saturday, 13 January 1855.)

Monday, 18 December 1854 : Mr. Willy's Classical Chamber Concert at St. George's Hall, Bradford.

Mr. Willy's Classical Chamber Concert. - This distinguished leader and solo-violinist appeared for the first time in Bradford on Monday evening, at a chamber concert, given in the saloon of St. George's Hall, when we experienced one of the rarest treats it has ever been our fortune to hear in this town. The concert commenced with Haydn's charming quartett in D, No. 63, the slow movement of which is so graceful and melodious, and in which Mr. Willy displayed the most exquisite taste and expression, as well as purity and brilliancy of tone, that drew from the audience most unequivocal marks of appreciation and delight. This was followed by Miss Freeman's song "Joan of Arc" (by Lindsay Sloper), which was given with considerable effect, though it struck us that the fair lady was slightly affected by a cold. Next came Mr. Willy's solo, introducing the airs "Rule Britannia" and "God save the Queen." The brilliant and effective manner in which this "fantasia " was performed, showed Mr. Willy's complete mastery of the instrument, and was given with such a fine breadth of style as at once to distinguish him from those violinists who seek to astonish by clap-trap effects and tricks, rather than legitimate playing. Indeed, we do not remember to have heard any player whose style belongs so properly to the legitimate school of violin playing. This was succeeded by Mozart's quartett in C, a work of greater grandeur than the previous quartett, and the one which the instrumentalists seemed to have reserved for their best strength. The beautiful manner in which each part was taken up, the perfect blending of the whole, with the subservient playing to the principal in the solo passages, made this performance what quartett playing should always be, viz., a musical conversation. This terminated the first part. The concluding portion of this concert was introduced by Beethoven's exquisite trio (piano-forte) in G major, in which Mr. Broughton, of Leeds, displayed excellent execution, and a rare appreciation and beautiful reading of those subtleties of Beethoven, which can only be elicited by the true musician. After a song, " The Bay of Dublin," sung by Miss Freeman, the performance terminated by Mr. Willy giving a " Perpetual Motion," being a recollection of Paganini. This, as an example of sterling tone and bowing, was a most effective lesson to the amateur violinist and a matter for wonder, astonishment, and delight to the audience. We have before alluded to the breadth of Mr. Willy's playing, and cannot conclude this notice without again adverting to the largeness of style, purity of tone, and particularly the power that characterize this eminent violinist's playing. May it be our good fortune to hear him again before he leaves this part of the country for London. The second violin, Mr. Pew, of Leeds, tenor, Mr. Bowling. Leeds, violoncello, Mr. Priestley, each very ably supported their leader, and evidently took great pains in taking up the points, as well as ably executing the respective solo passages. We were particularly struck with the fine tone of Mr. Bowling's tenor. In conclusion, we cannot refrain from expressing our regret at the thinness of the assembly, for the performance certainly deserved better at the hands of our musical townsmen. The saloon was most beautifully adapted to the purpose, and was fitted up for the occasion with great taste and elegance. (Bradford Observer, Thursday, 21 December 1854)

Monday, 18 December 1854 : Signor And Madame Ferrari's Concert at Hanover-Square Rooms.

MADAME FERRARI'S CONCERT. - Signor and Madame Ferrari gave their concert on the 18th, at the Hanover Square Rooms, to a crowded and fashionable audience. The lady, who never sang in better voice, introduced for the ?rst time in this country a cavatina from Verdi's "Il Trovatore:" it was original and graceful. A young pupil also of Madame Ferrari's made her ?rst début, and is likely to continue to deserve the applause she received in the exquisite duetto of "Sull'aria," which she sang with her "maitresse" with much grace and feeling. Miss Augusta Thompson's voice is sweet and clear, the intonation perfect - a rare thing in a timid débutante. Signor Giulio Regondi enchanted all hearts with his performance on the concertina. If he had been gifted with a voice to sing as he plays, he would have been unrivalled in the ?eld. Mr. Wallworth, not yet much known to the public, sang Verdi's "Infelice" with much taste and power, which entitled him to the applause he justly received. Herberte is wonderfully improved; some of his tones reminded us of Mario; the duetto' "Liberi" (Bellisario), with Signor Ferrari, went of admirably. The singers having no orchestral accompaniments, were all heard to great advantage. Mr. Lindsay Sloper has the great art of subduing his accompaniments, which are always played with such knowledge of the peculiarities of each singer. Mr. John Thomas, and Monsieur Paque, gave us delicious morceaux on their respective instruments, the harp and violoncello. Mercadante's "Liete Voci" was sung with full effect by Signor Ferrari. He and Madame may have the satisfaction of knowing that they made their concert attractive enough and short enough for the audience to desire MORE: how much better than when all the performances are so long that every one goes away weary and worn out. (The Ladies' companion, and monthly magazine., c.1 ser.2 v.5 1854., Sunday, 31 December 1854)

Wednesday, 27 December 1854 : Miss Ransford's Annual Soirée Musicale at Her Residence In Welbeck-Street.

MISS RANSFORD'S CONCERTS. Last evening this accomplished young lady gave, at her residence in Welbeck-street, the fourth of her annual soirées musicales, which, for several years, she has been in the custom of giving at this period of the season. We have frequently had occasion to notice them before, and to speak in high terms, not only of their taste and elegance, but of their essentially English character, which, to our feeling, gives them a peculiar charm. There is no ostentatious exclusiveness in the selection, for foreign pieces are admitted; but, in general, the music is English as well as the performers. The music, moreover, is vocal, interspersed with a few instrumental pieces by way of variety. The programme of last evening embraced several exquisite specimens of the pure school of English to vocal harmony :-Callcott's four-part glee, "Go, idle boy ;" Horsley's masterpiece, "By Celia's arbour "Webbe's" When winds breathe soft," a wonderful specimen of the sublime effects which genius can he produce by simple means; and Festa's famous old madrigal, "Down in a flow'ry vale." These fine pieces were beautifully sung: the four-part glees by Messrs. Foster, Montem Smith, D. W. King and Ransford; with the addition of Miss Ransford, in the soprano part of "When winds breathe soft." Horsley's glee and Festa's madrigal were loudly encored. Miss Ransford sang Arne's celebrated bravura, "The soldier tired of war's alarms," with a vocal power and a brilliancy of execution which reminded us of the great singers of a former day. It was called for a second time, and repeated with increased effect. Mr. Whitworth having been prevented, by the death of a relation, from being present, his place was supplied by Mr. George Tedder, s who sang the pretty ballad " Good bye, sweetheart, good bye," with much applause. There were two fine instrumental performances: Mr. Lindsay Sloper played one of his own pianoforte pieces, and Mr. Blagrove a solo on the violin, also composed by himself. The room was filled by a fashionable audience. (Daily News, Thursday, 28 December 1854) (Also: The Era, Sunday, 31 December 1854.)

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